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V 3' / ' /^
THE EX-LIBRIS SERIES. EDITED BY GLEESOX WHITE.
MODERN ILLUSTRATION.
HV F. WALKER. PROCESS BLOCK FROM THE DRAWING ON
WOOD IN SOUTH KENSINGTON MUSEUM.
Modern Illustration
by Joseph Pennell, author of
*' Pen Drawing and Pen
;. Draughtsmen," etc.
London : George Bell & Sons, York Street,
Covent Garden, & New York. Mdcccxcv
[\IO
CJr-p , "2-,
CHISWICK PRESS : — CHARLES WHITTINGHAM AND CO.
TOOKS COUK'l', CHANCERY LANE, LONDON.
CONTENTS.
CHAP. PAGE
Index of Illustrations vii
Prefatory Chapter xiii
Introduction i
I. A General Survey 9
II. The Methods of To-day, their Origin and
Development 33
III. French Illustration 50
IV. Illustration in Germany, Spain, and other
Countries 70
A'. English Illustration 81
VI. American Illustration 113
VII, Conclusion 131
*^* The Publishers take this opportunity to thank especially
the following owners of copyrights of various drawings for their
kind permission to reproduce them here : — The editors of " The
Daily Chronicle," "Good Words," "Sunday Magazine," "The
Studio," "The Century Magazine," and "Scribner's Magazine";
Messrs. Chapman and Hall, H. Grevel and Co., Harper and
Brothers, C. Kegan Paul and Co., Thomas Murby, and ^^\lrd,
Lock and Bowden.
INDEX OF ILLUSTRATIONS.
The full page engravings arc indexed zuith the number of the
page nearest to them.
ARTIST
Frki). Walker
BOUTET I)E MONVEI,
W. \V. Russell . .
Maurice Greifkenhagen
E. J. Sullivan . .
J. McNeil Whistler
A. S. Hartrick . .
John Constable . .
Unknown ....
Sir E. Burne-Jones, Bt,
Thomas Bewick . .
David Wilkie .
The Lin NELLS . .
Thoma? Stothard .
#
engraver and source pa(;e
From an original drawing on the wood
in the South Kensington Museum.
Process block by C. Hentschel
Frontispiece
Process block by Hentschel, from a
drawing in wash and pencil • ■ • 95
Process block from " St. Nicolas," the
French .\iii
From "Jeanne d'Arc," by Hentschel . 65
Process block by Hentschel, from a pen
drawing in "The Daily Chronicle " . xiv
Process block by Hentschel, from a pen
drawing in " The Daily Chronicle" . xvi
Process block by Hentschel, from a pen
drawing in "The Daily Chronicle " . xx
From Thornbury-'s " Legendaiy Bal-
lads " wood-engraving by J. Swain . xxii
Process block by Hentschel, from a pen
drawing in " The Daily Chronicle " . xxv
From a pencil drawing, process block
unsigned i
" St. Christopher," from a wood-cut,
1423 6
Pen drawing; block by Carl Hentschel.
From " The Daily Chronicle '' . . 6
Process block by Art Reproduction Co.,
from original drawing for Gatty's
"Parables" 44
Wood-engraving from Walton's
" Angler " 9
Process block by Carl Hentschel, from
a pen drawing 9
Drawings on wood, and engravings from
National Gallery Handbook . . 10, 11
Process block by Carl Hentschel, from
an unpublished pen and wash drawing 10
Wood-engravings by L. Clennell . 12, 13
Vlll
Index of Illustrations.
ARTIST
William Harvey
John Thurston ....
George Cruikshank . .
Dante Gabriel Rossetti
BiRKET Foster . . . .
Harrison Weir
A. COOTER ....
Randolph Caldecott
Charles Keene . .
M. E. Edwards . .
G. Du Maurier . .
Arthur Hughes
Walter Crane . .
Kate Greenaway. .
E. ISABEY ....
engraver and SOURCE PAGE
Wood-engravings by Thompson, from
Milton's Works, etc I5i l6
Original drawing on wood ; process,
unsigned 17
Wood -engraving after B. R. Haydon,
detail of " Dentatus," process block
from it by Dellagana 49
Wood-engravings, unsigned, from But-
ler's " Hudibras," Tasso, etc. . 19, 21
Engravings by .S. and T. Williams and
others unsigned, from " Three
Courses," "Table Book," . 22, 23, 25
Process block, by Clarke, from original
unpublished pen drawing .... 27
Wood-engraving, by Dalziel, from
" Tennyson's Poems " 27
Wood -engraving from Longfellow's
Works, etc., by Dalziel, Vizetelly, etc.
26-29
Process block from an original drawing
on wood . 28
Two wood-engravings from "Poetry
for Schools" by A. Slader . ... 30
Original wasli drawing on wood, process
block unsigned 31
Engraved by j\I. Jackson, for Walton's
" Angler "' 32
Engraved by J. D. Cooper; from "Old
Christmas" 33
From the " Elegy on a Mad Dog."
wood engraving, unsigned .... S3
From " Bracel.^ridge Hall," wood -en-
graving, unsigned 86
Original unpublished pen drawings,
blocks by Clarke and Dellagana . 34, 36
Wood-engraving from Gatty's " Para-
bles," by Harral 38
Wood -engraving by J. D. Cooper . . 40
Process blocks, from pen drawings for
" Trilby " K2, 103
Wodd-engraving from Hake's " Para-
bles," unsigned 41
Process block by Carl Hentschel, from
wood-engraving printed in colours,
" Beauty and the Beast " .... 46
Key -block for wood -engraving in
colour, by Edmund Evans .... 48
Process block by Pellagann, after wood-
engraving by Slader, from " Paul and
Virginia" 5°
Index of Illustrations.
IX
ARTIST
"(iAVARNI " . .
J. M. L. E. Meissonier
Jean Gigoux ....
JOLES JaCQUE.MART . .
A. DE Neuvii.le
GUSTAVE Dor£
I). Vierge . .
Louis Morin .
Carlos Schw.^be
E. Grasset
J. F. Raffaeli.i
II. Ibei.s . .
Stejnlen . .
A. WiLLETTE .
Caran D'Ache
A. ROBIDA . .
J. L. Forain .
p. Renouard .
M. Lalanne .
Marti.v Rico .
Hans Tegner .
Adolph Menzel
engraver and source page
Process block l^y Dellagana, after wood-
engravinj;. unsigned, from "'Parisians
by themselves" 51
Engravings from the " Contes Re-
mois' 52, 57
Process block, unsigned, from wood-en-
graving from " Gil IJlas " . . • • 53
Pen drasvings, reproduced by C. Gillot,
from "The History of Furniture"
55' 56, 64
Wood -engraving by Farlet from "Coups
de F"usil " 59
Wood - engraving by Brunier, from
"Spain" 58
Process block by Dellagana, from a
lithograph 60
Pen drawing, process by Gillot, from
" Pablo de Segovie" 60
Pen drawing, process, unsigned, from
" L'Art et ridee" 62,63
Pen drawing, process, unsigned, from
Zola's ' ' Le keve " 62
Pen drawing, process by Hare, from
" Quatre Fils Aymon " 63
Pen drawing, process, unsigned, from
" Paris Illustre " 64
Pen drawing, process, unsigned, from
" L'Art du Rire " 65, 66
Chalk drawings, two process blocks, by
Carl Hentschel, from "Gil Bias" . 66
Pen drawing, process, unsigned, from
" Les Pierrots " 66,68
Pen drawing, process, unsigned, " Al-
bum Caran D'Ache '" 67
Pen drawing, process, unsigned, from
"Journal d'un vieux gar^on "' . . . 67
Pen drawing, process, unsigned, from
" La Comedie Parisienne " ... 68
Wood-engraving, unsigned, from chalk
drawing in " The Graphic " ... 68
From pencil drawing, process block by
Clarke 7°
From a pen drawing, process by Della-
gana 70
Unsigned process, from an original pen
drawing 72
Pen drawing, from Holberg's "Come-
dies," wood (?) unsigned .... 73
Process block by Hentschel, from
unpublished drawing 73
X
Index of Illustrations.
Y. Goya. . . .
,, ....
m. fortuny . .
Joseph S.a.tti.er .
(}. De NlTTIS .
W. BUSCH . . .
A. Rethei, . . .
h. schlittgen .
Franz Stuck . .
J. Garcia y Ramos
W. L. Wyllie .
J. W. North . .
Huc.H Thomson .
J. M. W. Turner
E. Griset . . .
Sir J. E. Millais, Bt
A. Boyd Houghton
G. J. I'lNWEI.I,
Chari.es Green
F. Sandys . .
F. Shields. .
J. Mahoney .
J. F. Sullivan
Sir John Tenniel
engraver and source page
Process by Dellagana, from etchings in
"Caprices" 74> 78
From a chalk drawing in the British
Museum, process unsigned ... 74
Process, unsigned, from a pen drawing . 74
Process, unsigned, from a pen drawing,
" The Dance of Death " .... 74
Process, unsigned, from wash and brush,
" Paris Illustre " 76
Process, unsigned, from pen drawing,
" Balduin Bahlamm " T]
Wood-engraving, by Burkner, "Death
the Friend," process reduction . . "]%
Process, unsigned, from pen drawing,
" Ein erster und ein letzter Ball " . 78
Process, unsigned, from painting, "Franz
Stiick Album " 79
Process, unsigned, from pen and wash
drawing 79
Process, unsigned, pen drawing, "Ma-
gazine of Art " . 80
From a drawing on wood ; block by
Dellagana 81
Process, unsigned, pen drawing from
" Our Village " 82
Process by Dellagana, from Rogers'
"Italy" .85
Wood-engraving, unsigned from Hood s
" Comic Annual " 87
Wood -engravings, by Dalziel, from
"Good Words" 88,90
Wood - engraving, by Dalziel, from
Dalziel's " Arabian Nights" ... 92
Wood - engraving, by Dalziel, from
Dalziel's " Arabian Nights " ... 92
Process by Hentschel, from drawing
on wood for Goldsmith's Works . . 93
Process by Hentschel, from drawing on
wood for Goldsmith's Works ... 94
Unknown 94
Wood-engraving by Swain, from Thorn-
bury's " Legendary Ballads " ... 96
Wood-engraving, unsigned, fromDefoe's
" History of the Plague " .... 98
Process block, from wood-engraving in
" The Sunday iSIagazine " . . . . 100
Wood-engraving, unsigned, from Hood's
" Comic Annual " IOC
Engraved on wood by H. Harral,
from Gatty's " Parables " .... 102
Index
ARTIST
I.INI.EY SaMHOURNE
W. G. Baxter . .
I'liii. May ....
W. Smai.i
R. An.ninc Bei.i.
J. Bernard Pariridge
W. IIoi.MAN Hunt . .
E. H. New . . . .
Winifred Smiih . .
Alfred Parsons. . .
Sir Georc.e Reid .
\S. Paget ....
L. Ravf,n-Hili. . .
Edgar Wilson . .
C. E. Mallows . .
R. Caton Woodville
Sidney P. Hall . .
Aubrey Beardsley.
T. Walter Wilson
F. S. Church . .
C. S. Rein HART . .
Walter Shirlaw .
of Illustrations. xi
engraver and source page
Engraved Ijy II. Swain, from Kings-
ley's " Water Babies " I02
Process, unsigned, from pen drawing
in " Ally Sloper's Cartoons" . . 103
Process, unsigned, from pen drawing
in " The (iraphic " 103
Engraving on wood by Lacour, from
" Cassell's Magazine". . . 104, 105
Process block by Hare, from a pen
drawing 105
Process block, unsigned, from pen
drawing in " Proverbs in Porce-
lain" 106
Engraving on wood by Harral, from
Gatty's " Parables" 106
Process block, from pen drawing in
"The Quest" 107
Process block, unsigned, from pen
drawing in " Singing Games " . . 107
Wood-engraving by J. D. Cooper,
from •' The English Illustrated
Magazine " 107
Process block by Hentschel, from
"The Daily Chronicle" .... 109
Wash drawing, engraving on wood,
unsigned, from "A Scotch Natu-
ralist " 108
Wash drawing, process, by Andre and
Sleigh, from "Cassell's Magazine" log
Process, unsigned, from pen drawings
in "The Butterfly" . . . no, III
Process, unsigned, from "The Uni-
corn" Ill
Process, from a pencil drawing in
"The Builder" in
Process from a wood -engraving, in
"The Illustrated London News" . 112
Wood-engrating from pencil drawing
in " The Graphic" 112
Process block by Clarke, from a pen
drawing 113
Proce-s reduction, from "The Illus-
trated London News " .... 113
Process reduction, from "The Con-
tinent" 113
Wood-engraving by H. Davidson,
from " The Century Magazine" . 114
Process block, unsigned, from char-
coal drawing in "The Century
Magazine" 116
Xll
Index
ARTIST
Howard Pyi.e
Alfred Brennan .
A. K. Frost . . .
E. A. Abbey . . .
C. D. Gibson . . .
Oliver Herkord
Robert Blum . .
ChII.DE H ASSAM . .
HoPKiNsox Smith .
Frederic Remington
R. Birch ....
T. Cole
S. Parrish ....
Gilbert Gaul . .
Selwyn Image . .
Heywood Sumner .
A. J. Gaskin . . .
Laurence Housman
T. Cotman ....
of Illustrations.
engraver and source page
Process bkick. unsigned, from pen
drawing for "Wonderful One Hoss
Shay" Ii8, I20
Wood-engraving, un.signed, from wash
drawing in " The Century Maga-
zine" 119
Process, unsigned, from pen drawing
in " The Continent " 121
Process, unsigned, from pen drawing
in " Stuff and Nonsense" . 122, 123
Process, unsigned, from pen drawing
in " Harper's Magazine " . . . . 124
Wood-engraving, unsigned, from Austin
Dobson"s Poems 124
Process, unsigned, from pen drawing
in " The Centur)' Magazine" . . 125
Process, unsigned, from pen drawing
in "Fables" 125
Process, unsigned, from pen drawing
in " Scribner's Magazine " . . . 126
Process, unsigned, from chalk draw-
ings in " Scribner's Magazine" . . 129
Process, unsigned, from pen drawing
in "The Commercial Advertiser" . 126
Process, unsigned, from chalk drawing
in " The Centur)' Magazine " . . 126
Process, unsigned, from pen drawing
in " The Century Magazine " . . 128
Process, unsigned, from pen drawing
in " Little Lord Fauntleroy " . . 129
Wood-engraving after W. ^L Chase,
from "The Century Magazine" . 129
Process, unsigned, from "The Con-
tinent" 130
Wood-engraving, unsigned, from " The
Century Magazine" . . . . . 130
Process, unsigned, from "The Fitz-
roy Pictures" 131
Process, unsigned, from " The Fitz-
roy Pictures" 131
Process, unsigned, from pen drawing
in "Old Fairy Tales" .... 132
Process, unsigned, from pen drawing
in " A Farm in Fair)land " . . . 133
Process reproduction by Dellagana,
from "Architectural Antiquities of
Normandy" 134
BV HOUTET DE MONVEI,. FROM
ERRATA.
Page XV, for "T. W. Russell," '-ead'^W, W. Russell."
Page 20, I for " 1835," I ,.^^^ - 18^6 "
Page 25, / /or " 1838," f '^'''^ '^^^•
*^* I have seen four different dates given for the book.
Page 2S,/or " 1842," read '• 1840."
Page 32, ( r ., pannemacker," read " Pannemaker."
Page 69, j ^
Page 52, /or " Lavoignal," r<?fl^ " Lavoignat.
Page 112, /or "Sydney P. Hall," read "Sidney."
„ ,. f^^ " peri " r^a^ " pencil."
BV BOUTET DE MONVEL. FROM
"ST. NICOLAS" ('DELE(;RAVE1.
PREFACE.
S book is the result
a request, made to
me by the editor of the Ex-
Libris Series, that I should
write for him somethinij about the Illustration of
to-day.
The idea, I must acknowledge, and I am glad
to do so, is his, not mine. To the editor also I am
indebted for much help, especially in the matter of
the illustrations which the book contains : in fact.
xiv Preface.
if he has not selected and chosen them all, he has
performed the more difficult and thankless task of
obtaining them. Only one who has gone through
the drudgery of finding drawings or blocks, in
magazine, book, museum, artist's studio, or col-
lector's portfolio, and then of getting the permis-
sion of editor, publisher, curator, artist, or amateur,
to use or reproduce them, knows what this means.
I know from past experience, and I was therefore
only too glad to shirk the work when I found Mr.
Gleeson White willing to undertake it. I doubt,
however, if he will ever again attempt such a task.
For the appearance of the illustrations in the book
he deserves the credit ; for much advice and niany
suggestions of great value, as well as to the articles
he has wTitten, and the lectures he has delivered,
on this subject, I am greatly indebted.
There are many others also whom I must thank.
First of all Mr. Austin Dobson, who, when he
learned I was making a study of the subject, took
the trouble to put me on the track of the French
illustrated books of the early part of this century,
giving me a most helpful start. Without his
assistance, and that of M. Beraldi, I might never
have even been able to trace the true birth, de-
velopment, and growth of modern illustration,
which springs from Goya, the Spaniard, as
draughtsman,^ and Bewick, the Englishman, as en-
The Spanish photographer to whom was given the commis-
sion by Messrs. Bell to photograph the Goya drawings in the
Museum of the Prado, never carried it out. For nearly a year
they have been promised manyana, but the to-morrow has not
yet dawned.
JLm^
Preface. xv
graver; spreadini;, spontaneously butquite indepen-
dently, to France ; thence to Germany, back again
to England, and finally to America, whence it has
been diffused attain all over the world. Thou(rh
in all its component parts — drawing, engraving,
and printing — illustration is more advanced in
the United States than anywhere else ; still to-
day, despite the excellence of much of the work
done there, remarkable results are being obtained
in other countries. Yet this latter-day excellence
is so marked in American work that in many ways
it has overshadowed that of England, France,
Germany, and Spain, from the artists and en-
gravers of which countries we Americans have
derived our inspiration.
Once again I must thank the authorities at South
Kensington and the British Museum, Mr. E. F.
Strange and the assistants ; Mr. A. \V. Pollard,
who, though the editor of a rival series, helped me
as though the book was to appear in his own col-
lection ; Professor Colvin and Mr. Lionel Cust,
the latter of whom, during his stay in the Print
Room of the British Museum, 1 bothered persist-
ently ; his transfer to a more important post is
a great loss to students at the Museum ; Dr.
Hans Singer of Dresden, and man)- others.
Artists, especially those of the older generation,
the men w^ho gave illustration in this country
thirty-five years ago a position it does not hold
to-day, have been untiring in their interest in the
book, and most helpful in every way ; it has been
a delight and a pleasure to meet Frederick
Sandys, Birket Foster, Harrison Weir, Frederick
xvi Preface.
Shields, and W. H. Hooper, just as it is an
undying proof of the artistic bhndness of a genera-
tion which has not the intehigence to use the work
of its masters. Mr. Hooper has told me that he
does not believe the Bewick blocks could be
printed any better than they originally were ; this
is an interesting problem, but one which can
never be solved; from my point of view they
were badly printed. He also thinks that Bewick
used overlays.
Mr. Hooper is the English m-3iS\.^r o{ facsiviile
wood-engraving ; and some day, when this fact is
generally discovered (as Mr. William Morris has
found out, for Mr. Hooper has engraved the
greater part, if not all, of Sir Edward Burne-
Jones's and Mr. Morris's designs), there will be a
wild and fruitless discussion among bibliographers
as to the engravers of the wonderful blocks in
Morris's books, and of much of the best work of
i860 to 1870, signed with the name of a firm, or
a tiny mark in the most obscure corner.
Mr. Laurence Housman's article on A. Boyd
Houghton in " Bibliographica " 1 wish I had seen
before the English chapter was written, and I
wish ! had had the benefit of his researches con-
cerningf this master, as well as the advice of Mr.
A. Strahan, which would have been invaluable.
Mr. W. J. Hennessy has given much help
in the American chapter, and I must thank
Mr. Emery Walker, Mr. Horace Townsend,
Mr. H. Orrinsmith, Mr. C. T. Jacobi, Mr.
W. E. Henley, and I cannot remember how
many more. Mr. Edmund Gosse kindly allowed
BY MAURICE GREIFFENHAGEN. PEX DRAWIXC, FROM
"the daily CHRONICLE."
Preface. xvii
us to reproduce his Rossetti, one of the strongest
j)ieces of work, I think, tiiat artist ever did in
pen and ink. The other drawings not con-
tributed directly by artists, or not obtained as
electros, etc., are mainly from my own collection,
for strange as it may seem, the collection of
original drawings is one of my hobbies ; others
may collect bad prints, I prefer good originals.
The proprietors of " The Daily Chronicle " allowed
us to reproduce a nuniber of designs made for
that paper, and published in it during February,
1895. That no drawings are included from many
of the artists of " Fliegende Blatter " is because the
proprietors refused to allow them to be repro-
duced or used ; no doubt the publishers have
daily applications of the same sort, but as a
book like this is not intended as a rival to a
comic paper, I think their refusal in this case
rather uncalled for. Still, I have not allowed
their decision to influence me, nor yet the refusal
of one or two artists, who evidently prefer the
advertisement of the vulgar type of weekly to
being included with their equals or masters. No
doubt these confessions will be greeted with
applause, especially in that paper whose boast it
was once to be " written by gentlemen for gentle-
m.en." No doubt I shall be censured for leaving
out the work of every man who ever happened to
make an illustration or even a sketch, especially if
it was privately published. No doubt the omis-
sion of Miss Alexander and other Ruskin-boomed
amateurs will be noted, but I have no collection
of their works which I should like to unload on
xviii Preface.
the dear public. And as for the misplaced energy
contained in these drawings, I am sorry that their
authors wasted so much time over them. No
doubt for making these confessions, unknown or
anonymous nobodies will shriek out that I have
stolen everything in the book from an authority
of whom I never heard. And, finally, no doubt
an ordinarily rational paper like the "Spectator"
will remark of certain of the drawings, " they make
us sick."
As to the text, it is in no sense an attempt at a
complete history of modern illustration ; such a
subject would fill volumes, and take a lifetime to
prepare. It is but a sketch, and a very slight one,
of what I think is the most important work of this
century ; from which I know I shall be told I have
omitted almost all that I should have included, and
inserted much that should have been omitted.
But I should like to point out that there are no
works that I have been able to consult on modern
illustration, that is on drawing, engraving and
printing as practised to-day in Europe and
America ; there are a few excellent books notably a
" Chapter on English Illustration," by Mr. Dobson,
in Mr. Lang's " The Library," and Mr. Linton's
works on engraving ; Mason Jackson's " Pictorial
Press ; " a few good monographs on the great illus-
trators, Champfleury's " Vignettes Romantiques,"
for example ; many excellent scattered articles, and
an ocean of rubbish. But I am the unfortunate
who will be sacrificed for attempting to write the
first book on a subject he loves. There is another
most serious, really insurmountable difficulty, for
Preface. xix
inc or anyone else who attempts to write of modern
illustration : no illustrations are catalogued to any
extent; only the most important illustrators fmd a
place in either the catalogues of South Kensington
Art Library or the British Museum ; therefore a
few years, even a few weeks, after an illustrated
book is published, if it has already passed through
several editions, it may require hours to find the
edition one wants. And as for a special illustration,
that necessitates almost always turning over thou-
sands of pages — unless one knows exactly where to
find it. I know of but one magazine — " Once a
Week" — in the bound volumes of which the artist's
work is properly indexed, and even here the en-
graver's name is omitted.^ In Harper's most ex-
cellently conducted magazine, for some unknown
reason artists and ensfravers are ignored in the
index. Even " The Century " leaves much to be
desired in this way. Again, it is almost impossible
to obtain the date or the name of the work in which
many an important illustration first appeared. Illus-
trations are used over and over again, this has
always been done ; even a publisher at times cannot
help one : for this reason it is very difficult to tell
when one is consultino- a first edition of an illus-
trated book. Sometimes I fancy this carelessness
is not altocrether unassociated with the author's or
publisher's desire to palm off old blocks as new.
It is by no means uncommon to omit the name of
the artist altogether from the work he has illus-
trated ; rarely indeed is it that the engraver's name
* The " Pall Mall Magazine '' has just commenced to index
artists and engravers completely.
XX Preface.
is given ; sometimes no mention that the work is
illustrated is even made on the title page, or only
that it contains so many illustrations ; usually if an
attempt is made to describe the method by which
the designs have been reproduced, it is wrong ; in
rare cases, I am glad to say, this is intentional —
photogravures being called etchings, for example
— but it is mainly the result of sheer ignorance
on the part of publisher, author, or at times, the
illustrator.
Hence there are two matters to which I should
like to call attention ; that all library catalogues
give the name of artist and engraver whenever
these are printed in the book being catalogued ;
naturally in a work like this or a magazine, such a
course would be impossible, but at least the num-
ber of illustrations mieht be given. The name of
the illustrator should always appear on the title
page when possible ; if his work is worth printing
he should have a decent amount of attention drawn
to it. This matter is not so difficult, nor would
it entail in new catalogues so much work as
librarians might think, for I may say in the British
Museum and South Kensington I find that
Menzel's work is so catalogued already.
Secondly, that bibliographers everywhere should
turn their attention more to modern illustrated
works, even if from the bibliographer of the future
it removed much of that pleasant uncertainty which
enhances, for some, the work of to-day. There is
scarce an illustrated book of the fifteenth or six-
teenth century, in which we are absolutely sure of
the artist and engraver ; but the bibliographers of
Preface. xxi
the future will have a far bigger puzzle to solve,
unless we pay some attention to the work of to-
day, when they come to catalogue and describe the
books of this century.
Most illustrators, it is true, now sign their draw-
ings, but I should not care to attempt a catalogue
of my own work.
I have no doubt that I have omitted to men-
tion some really important books, but they have
been omitted because I have never seen them ;
with no good catalogue, no guide, many of the
artists dead, and the books dead too, how is one
to find them ? I have done what I could to
make a start ; I only hope some one will carry it
on ; certainly I am sure some of my sincere
flatterers will imitate me, as they always do.
But to-day the output of illustration is over-
whelming , to study the subject properly one must
see all the books, magazines, and papers published
all over the world. No one man has a chance to
do this, and, if he had, the mere looking at such a
mass of material would take up all his time. Yet
one must sret some idea of what is beingf done, for
in the most unexpected places the best work often
appears ; originality is barred in many, so-called,
high-class journals, and has to struggle, in the
cheapest publications, with the printing-press, ink,
and paper.
What magazine, for example, has eclipsed " The
Daily Chronicle's " experiment in illustration ?
Within the same short period no such distinguished
band of contributors ever appeared.
Again, in this book it is repeatedly stated that
* e
xxii Preface.
certain artists are at work on certain publications ;
these hav'e since appeared ; I can only say that
the book was not made in a day, and the artists,
engravers, and printers to whom I have referred,
have worked faster than I have. Even the
" Yellow Book " has come into existence, and
been artistically eclipsed — I hope but for a short
while — since I have been working at this volume.
Temporarily, the shrieking brother and sisterhood
have hurt the pockets of a few artists ; but illus-
trators may be consoled by remembering that from
the time of Diirer to the pre-Raphaelites, from
Whistler to Eternity, Art never has been and
never will be understanded of the people ; but
they no longer dare to burn our productions, they
only write to the newspapers about them. Art
can stand that — even though it, for the moment,
is hard on the artist.
It is now no longer necessary for me to insist on
the importance of illustration ; it is acknowledged,
and, save that academic honours are denied him
in this country, the illustrator ranks with any other
practitioner of the fine or applied arts.
Nor do I propose to contradict the statement
that one can see too much good art ; well, the
Elorin marbles stood for centuries where onlv the
blind could avoid them, and I have not heard that
the Athenians were injured in consequence ; now
they are shut up in boxes, and only visible at
certain times, hence the British taste has been
so elevated, that the ha'penny comic and the
photograph have become its ideal. Still, if people
could see every day, as they had the chance of
BY
Mc NEIL WHISTLER. FROM "LEGENDARY BALLADS" ,CHATTO).
Preface. xxiii
seeing this year in tlie " Chronicle," illustrations
by Whistler and Hurne-Jones, I do not think they
would be harmed, even if they did not happen to
have to travel in a penny 'bus to the liritish
Museum, or take a Cook's ticket and a shillinor
Ruskin in order to walk in Florence. My opinion
is, the better the art around us, even in the penny
paper, the better shall we be able to appreciate the
work we must travel to see.
As for the people who would vulgarize art and
literature, bringing everything down to their own
low level, we have them always with us. And they
and their haneers-on are the ones against whom
the present puritans should level their attacks —
not against men whose art they do not understand,
even if they do object to their personality. Still
here it will be always impossible to separate a
man from his work ; yet good art will live, and
good illustration is good art. The world may or
may not appreciate it, still " there never was an
artistic period, there never was an art-loving
nation."
NOTE.
Since this preface was written much has hap-
pened, and I hope I have learned a little. A
show of wood-engravings was held in March, 1895,
in Stationers' Hall, which demonstrated clearly
that there are many capable artists in this branch
of illustration, though at present they have but
xxiv Preface.
little encouragement to practise their art ; in that
exhibition one saw much good work, and I must
at least record the names of H, Harral and C.
Roberts among English engravers on wood who
have done notable laro^e blocks — while excellent
engraving has been recently accomplished by
Messrs. M. Stainforth, O. Lacour. J. D. Cooper,
R. Paterson, A. Worf, F. BabbageJ. M.Johnstone,
and W. Spielmeyer, the latter of whom was good
enough to give me much help in the German
chapter of this book. Edmund Evans, the en-
graver and colour-printer, loaned me the original
drawings on the wood by Birket Foster, William
Harvey, and Harrison Weir, now for the first time
reproduced, while William Archer allowed us to
reproduce the Tegner on page 72.
Among artists too I should have noted the work
of G. H. Thomas and Samuel Palmer, who made
some designs for Sacred Allegories, mainly en-
graved by W. T. Green, 1856. One of the earliest
and best of modern illustrated books, " Poets of
the Nineteenth Century," 1857, and Wilmott's
" Sacred Poetry," 1863, are worth preservation for
their illustrations. The more I see of this illustra-
tion of twenty or thirty years ago, the better
and more interesting I find it. Arthur Hughes'
work grows on one ; certainly his illustrations to
Christina Rossetti's " Sing Song," are very charm-
ing. I have made no mention scarcely of the
splendid work Charles Green, Luke Fildes, and
Fred. Barnard did for Charles Dickens. My only
excuse is that till yesterday I never saw it.
Griset's grotesques, too, I have but just come
XX vi Preface.
across — but while one is looking up the work of a
few years ago, that of the present is unseen. I
have said nothing of many interesting illustrators
who have come to the front almost within a few
months, illustrators are being made almost daily,
one cannot keep track of them, good as their work
is much of it is like journalism, bound to perish, only
the best will live ; but when one is right in the
midst of it, difficult indeed is the task of picking
out the good from the almost good, the clever
from the distinguished.
London,
September TfOl/i, 1895.
BY CONSTABLE. PROCESS BLOCK FROM AN ORIGINAL
DRAWING IN POSSESSION OF THE AUTHOR.
MODERN ILLUSTRATION.
INTRODUCTION.
ILLUSTRATION is not only the oldest, but
the only form of artistic expression which
graphic artists have ever been able to employ.
For that matter, every expression of the artist,
whether conveyed by means of monochrome or
colour, even the work of the plastic artist, is but
an illustration.
For an illustration is the recordino-, bv means
of some artistic medium, either of something
seen by the artist which he wishes to convey to —
that is, illustrate for — others ; or else the direct
interpretation by some artistic means of a written
description, or the chronicling of an historical
event ; or, it is a composition which has been
suggested to him by some occurrence in nature ;
or, again, his impression of some phase of nature
or life. Therefore all art is illustration, though it
rather seems to follow that all illustration is not art.
In the past, the great illustrators were employed
by the great patrons of art in the church and at
court. The church, by means of graphic or plastic
B
2 Modern Illustration.
illustration, warned or encouraged her followers,
terrifying them by endless purgatories and mfernos,
more gruesome and ghastly than the British idea of
the Salon picture ; turning their thoughts towards
heaven mainly by cloying sweetness, which the
typical member of the Royal Academy finds
much difficulty in approaching. Though such
illustration, in a certain sense, was made for the
people, it was not given into their possession as
modern illustration is to-day ; it was meant not
for their pleasure, but for their instruction.
The old illustrator in his work was simply
nothing if not a moralist, though he himself may
have been a most amusing person, while his treat-
ment of even the most sacred subjects was
frequently the broadest and most suggestive.
Still, he was commissioned solely to " point a moral
and adorn a tale." As for the court painters, their
work was never seen by the people at all, any
more than it is now, often luckily. But what
were the portraits of Velasquez, the groups of
Rembrandt, the feasts of Veronese, the processions
of Carpaccio ? The work of all court and portrait
painters is but the recording, that is, the illustration,
of human vanity ; and the work of all subject
painters is but the recording, that is, the illustra-
tion, of great and important events ; while land-
scape painting, a modern invention, is only more
or less glorified topography.
With the writing and illustrating of manuscripts,
however, there had been developed a school of
minor artists and craftsmen : illuminators and
scribes who — mainly taking for their subjects
Introduction. 3
either a portion of some painting by a master, but
usually the mere mechanical part of the early
painters' backgrounds, the mechanical gold punch
design of the primitives, the elaborate, but
mannered and conventional, foregrounds of Botti-
celli, and the entire compositions, more or less
altered, of Fra Angelico and Pinturicchio — by
"lifting" these things judiciously, evolved the
art of illumination. It must be borne in mind
that this illumination, in its detail and acces-
sories often very beautiful and conventionally deco-
rative, in its main subject almost always as realistic
as possible, was the work, with two or three most
notable exceptions, of second- and third-rate clever
technicians, but in no sense great creative artists
at all. Only a few well-known painters were ever
employed to illuminate important manuscripts.
After the introduction of printing, the same
state of affairs continued. Although the most
beautiful books which came from the early German
press appeared during the lifetime of Diirer, his
contributions as an illustrator are curiously limited,
considering the amount of black-and-white work
which he produced. He illustrated not more than
three or four books, and of these only the Missal of
the Emperor Maximilian was worked out com-
pletely.^ The great Italians never did anything of
any importance, if we except Botticelli's designs for
Dante which were never completed. \^elasquez has
left nothing behind him ; nor has Rembrandt. A
^ This is a combination of illumination and printing, the
illustrations being original drawings by Diirer. The text is
printed ; but two or three copies exist.
4 Modern Illustration.
few of Rubens' sketches for title-pages exist in
Antwerp, and Durer's monograms and various de-
corative designs have proved a veritable mine for
the minor artists, or greatest thieves — I mean the
decorators — who are with us still. With the excep-
tion of Hans Holbein, there never was in the past
a great artist who devoted himself to illustration.
The glorification of these minor craftsmen into
great illustrators is unjust, incorrect, and absurd,
when one seriously considers it. Durer's designs
were really published and sold as portfolios of
engravings, or separately, although there was a
little text with them, but not as illustrated books.
So, too, were those of Rubens ; while Rembrandt's
etchings were altogether published separately. It
was the same with the work of the early Italians.
Holbein is almost the only exception proving the
rule that great artists in the past were not illus-
trators of books. Still, one can never be abso-
lutely certain on this point, since on some of the
finest books, like the " Hypnerotomachia," a great
artist was employed whose name has never been
recorded.
Although it is impossible now to give with abso-
lute certainty the true reasons why the best-known
artists did not illustrate the important publications
of their own day, there seemi to be three very good
ones. First, because it is almost certain that the
wood-cutter, when he was known at all, and this
implied his being reasonably successful, was the
head of a large shop in which the artist and the
actual engraver were mere necessary evils ; the
proprietor, I do not doubt, taking not only all
lutyoduction. 5
the credit, as we know, but most likely the bulk
of the cash as well. Secondly, we have Dilrer's
own testimony that his wood-cutters were incom-
petent, and careless, and the much belauded line
of Diirer which one is bidden to admire in the
wood-block to-day, he himself, it is almost certain,
did not cut.* But he sketched freely on paper,
his design was then copied by another person
on the block, and the third man cut it. That
Diirer did work on the wood, correcting his
designs and criticising his wood-cutters, there can
be little doubt, simply from the improvement in
this method of reproduction which began with
him. But the reason that a great artist like Diirer
did not contribute illustrations to books most
probably is because he was not decently paid for
them, and because his designs were all cut to pieces.
Finally, not only was almost all the engraving,
except work done under the direct supervision, or
influence, of Diirer, absolutely characterless so far
as the quality of the line went, but there is not a
single early printed book to be found in which
the illustrations are decently printed. There is
scarcely a solid black in any of them.-
When one considers these facts, which have
been carefully ignored by a small set of artists,
and, of course, are absolutely unknown to the
ordinary critic and authority on the early printed
book, two things become evident. First, that the
great artists of the past did not illustrate ; and,
^ See " Literary Remains of Albert Diirer," and F. Didot's
"Gravure sur Bois."
" Some of Ratdolt's are among the exceptions.
Modern Illustration.
second, that the reason they did not was because
they could be neitherdecently engraved nor printed.
a
^Uxm^ ^^g^tojg uiftlanon T\^(Rie>\$v| ^-^^^no :<n^
ST. CHRISTOPHER, 1423.
With the introduction of steel and copper-plate
engraving and etching, the paintings and sculptures
BY SIR EDWARD BURNE-JONES, BART. REDUCED FROM A LARGE
PROCESS BLOCK IN "THE DAILY CHRONICLE."
Introduction. 7
of great artists were not infrequently used as the
subjects of book illustrations, but they were seldom
made expressly for the books they illustrate. And
as the steel or copper engraving must be printed
separately, and as the best proofs of these engrav-
ings were almost always sold as separate works of
art, it hardly seems to me that engravings on metal
or on stone, like lithographs, properly come under
the head of illustration for printed books.
The use of what we call now cliches and stock
blocks was almost universal, even from the very
invention of printing, when the illustrations to the
block-books were cut up for this purpose ; and not
only this : the same map was made to do duty for
as many countries as were required, and one and
the same portrait or town served for as many
characters and places as happened to figure in the
book. While, under the heading of appropriate-
ness of decoration and fitness, it may be remarked
that most of the old printers only had one set of
initials, and if they did possess two sets of borders,
they usually chopped them up, and, by judicious
mixing, obtained a variety apparently pleasing to
their patrons.
It is not until the eighteenth century that one
finds artists of note illustrating books, always with
the exception of Holbein. Even then the illustra-
tions were usually steel or copper-plate engravings
made very freely from other men's drawings,
although the artists were beginning to be com-
missioned to produce designs themselves. One
might devote much space to the work of Piranesi,
Canaletto,\Vatteau, Greuze, Hogarth, Chodowiecki,
8 Modern Illustration.
and the illustrators of La Fontaine. But this does
not come really within my subject, since the making
of modern illustration, that is, the employment of
great artists to produce great works of art to
appear with letterpress in printed books, dates
entirely from this century, and is due altogether to
the genius of four men : Meissonier in France,
Menzel in Germany, Goya in Spain, and Bewick
in England. It is to these four that modern illus-
tration is solely and entirely due ; though a word
— and a strong one — of praise should be given to
the patrons and publishers who employed and en-
courasfed them.
-'^Nk-W xs,j\VAV<j;
WOOD-ENGRAVING BY THOMAS UEWICK:. FROM WALTON'S
"COMPLETE ANGLER" (BOHN).
CHAPTER I.
A GENERAL SURVEY.
NOWHERE were the conditions of illustra-
tion more deplorable than in England when
Bewick, and Stothard, and Blake appeared upon
the scene. There was a decided revolution when
Gay's " Fables," the "General History of Quad-
rupeds," " British Land and Water Birds," all
illustrated by Bewick's wood-engravings, were
issued. Bewick, as has been said before, and
cannot be repeated too often, was an artist who
happened to engrave his designs on wood, instead
of drawing them on paper or painting them on
canvas ; he was not a mere wood-engraver, inter-
preting other men's work which he only half
understood or appreciated ; and this is a distinc-
tion to be borne in mind. Bewick, virtually, did
for himself what the new mechanical processes
almost succeed in doing for contemporary illus-
trators. For him were none of the difficulties
10
Modern Illiistratiou.
"CHRIST AND PETER.'
BV CARACCI. Wood-
engraving by the
Linnells.
and miseries of the draughtsman who made his
designs on the block, saw
them ruthlessly ruined by an
incompetent, or unscrupulous
engraver, and then had but
the print, which could not
prove the reproduction to be
the wretched caricature of the
original that it really was,
This was the chief rea'son for
Bewick's success. He in-
vented wood-engraving ; he
showed what o-ood work ouo-ht
to be ; in a word, he revolu-
tionized the art of illustration
in England/
Whatever may have brought about this sudden
activity and revival of excellence,
Bewick's books were far from
l^eing its sole outcome. " The
Songs of Innocence and Expe-
rience," the "Inventions to the
Book of Job," Blair's " Grave,"
Mary Wollstonecraft's stories,
with Blake's illustrations, belongf
to the same period, though this
was but a chance. The illustra-
tions were mostly done on metal,
and Blake had his own peculiar
methods. He belonofs to no
special time or group.
Book after book with Stothard's illustrations,
"• The printing is, however, always bad.
" THE HOLY FA-
MILY."' BY PERU-
GINO. Wood-en-
graving by the
Linnells.
BY STOTHARD. FROM AN ORIGINAL DRAWINc; IN THK
POSSESSION OF THE AUTHOR.
A General Survey.
II
the " Pilgrim's Progress," Richardson's novels,
tales now forgotten, above all, Rogers' " Poems,"
FROM A PAINTING BV WILSON.
Wood-engraving by the Linnells.
with the engravings by Clennell, helped to prove
the possibilities of good illustration, and empha-
FROM A PAINTING BY RUBENS.
Wood-engraving by the Linnells.
size, by force of contrast, the inappropriateness of
work done by some of the most popular Academi-
12
Modern Illustration.
cians of the day for Boydell's " Shakespeare,"
immortahzed by Thackeray as that " black and
ghastly gallery of murky Opies, glum Northcotes,
straddling Fuselis."
But the most important outcome of Bewick's
work was the appearance of an excellent school of
wood-engravers in England : Clennell, Branston,
BY STOTHARD. FROM ROGERS' " POEMS " (CADELL).
Engraved on wood by Clennell.
Harvey and Nesbit,the Thompsons, the Williamses,
and Orrinsmith. These engravers tried, in the
beginning, to produce exactly the same sort of work
that is being done by the so-called school of
American wood-engravers to-day. One has only
to look at Stothard's illustrations to Rogers'
" Poems," engraved by Clennell, to see an ex-
ample of facsimile engraving after pen drawing.
A General Survey.
13
But, as a general thing, these men all endeavoured
to imitate the qualities of steel engraving or etch-
ing. First, because steel or metal engraving was
the prevailing form of illustration, enjoying, for a
while, tremendous popularity in the long series of
" Keepsakes," "Forget-Me-Nots," and "Albums;"
and, secondly, because they were forced mainly to
copy old metal engravings, since scarcely any artist,
BY STOTHARD. FROM ROGERS' " POEMS " (CADELL).
Enofraved on wood bv Clennell.
always excepting Stothard and a few others, knew
how to draw on the wood. So great was the rage
for popularizing engravings on metal, that John
Thompson projected an edition of Hogarth on
wood, about two inches by three, showing that,
instead of being able to produce new work done
specially for the wood, engravers were continually
thrown back upon the copying of steel or copper-
plates, or the work of their predecessors. Another
notable instance, though published much later, is
H
Modern Illustration.
that of the first illustrated catalogue of the National
Gallery by the Linnells/
In France, however, there were plenty of artists,
willing to draw on the wood, who could not iret
their designs engraved, at the very time that in
England there were plenty of engravers who could
find no artists to draw for them.
FROM TITIAN, "ARIADNE AND BACCHUS."
Wood-engra\ing by the Linnells.
In 1816 Charles Thompson went to Paris,
partly for pleasure and partly in search of work.
He was at once successful. He arrived at the
right moment : already a Society for the Encourage-
ment of National Industry in France had offered
a prize of two thousand francs for wood-engravings
done in that country, so impressed had French-
^ So far as I know, the original of that system of abomination.
A General Survey.
15
men been with the excellence of the work produced
in England.
BY HARVEY. FROM " MILTON'S POETICAL WORKS" (BOHN).
Engraved on wood by Thompson.
A little later on, Lavoio-nat and other enoravers
came over and worked in London with the
Williamses. The result was, that, within ten )ears
i6
Modern Illustration.
of their return, a school of wood-engravers, nearly
as good as the English, arose in France, together
BV HARVEY. FROM " MILTON'S POETICAL WORKS" (BOHN).
Engraved on wood by Thompson.
with a number of draughtsmen, greatly superior to
those of England. Among the engravers who
should be mentioned are Best, Breviere, Leveille,
A General Survey. 17
Lavoignat, Piaud, Pisan. and Poirret. They
worked after Gigoux, the Johannots, Isabey, Paul
Huet, Jacque, Meissonier, Charlet, Daubigny,
Daumier, Gavarni, INIonnier, and Raffet.
In both countries this new illustration beofan to
\:'j r"v
'.0^' ^f^:^
--^r- '^
^
/■
FROM AN ORIGINAL DRAWINi; OX THE WOOD BV HARVEV.
make its mark about 1S35. Although, in its own
way, Bewick's engraving was unsurpassed, still a
refinement, a freedom, was introduced by the
French artists, and a faithfulness oi facsimile by
their engravers, many of whom, as I have said,
were English, quite unknown at that time in work
c
t8
Modern Illustration.
i^ »"^>
BY HARVEV. FROM MIL- ^
TON'S POETICAL WORKS
{bohn). Wood-engraving, unsigned
published in England. So
great was the reputation of
these illustrators, artists and
engravers both, that two
Germans, Braun and Roehle,
came to Paris to work with
Breviere. This international
exchange of eno^ravers has
kept up, in a measure, till the
present time ; M. Lepere, for
instance, studied in England
with Smeeton, while it is well
known that the director of
the " Graphic " was working
in Paris almost up to 1870.
In 1830 I think one may
safely say that the first really
important modern illustrated
book, in which wood was
substituted for metal engrav-
ing, appeared in France.
This was the " Histoire du
Roi de Boheme," by johannot.
Though published twenty
years later than Rogers'
" Poems," with Stothard's
illustrations, as an example
of engraving it was scarcely
any better. But the designs
— little head and tail-pieces
— were so good that they
were used over and over
again by " L'Artiste," the
A General Survey.
19
organ of the Romanticists, in which they were
accepted as the perfection of illustration.
At this date there is to be noted in En(j;-]and,
among- the best work done, the beautiful alphabet
by Stothard, published by Pickering.
If, up to 1830, England and France were in
BY THURSTON. FROM BUTLER'S " HUDIBRAS " (BOHN)
Wood-engraving, unsigned.
equal rank, so far as illustration went, for the next
ten or fifteen years France utterly eclipsed her
earlier rival. In 1833 appeared the "Gil Bias"'
of Gigoux, containing hundreds of drawings,
which all Frenchmen, I believe, consider to be the
illustrated book of the period. To Gigoux, Daniel
Vierge owes more probably than he would care to
acknowledge ; while Gigoux himself is founded
■ My own copy, apparently a first edition, is dated 1S36.
20
Modern Illustration.
on Goya. In 1838, however, was issued a book
which, in drawing, engraving, and printing, com-
pletely outdistanced anything that had heretofore
appeared in England or in France : Curmer's
edition of " Paul et V^irginie," dedicated by a
grateful publisher, " Aux artistes qui ont eleve ce
monument typographique a la memoire de J. H.
Bernardin de Saint- Pierre." These artists include
BY THURSTON. FROM BUTLER'S "HUDIBRAS" (BOHN).
Wood-engraving, unsigned.
the names of nearly everyone who was then, or
soon became famous in French art. The book
contains marines by Isabey, beautiful landscapes
by Paul Huet, animals and figures by Jacque, and,
above all, drawings by JNIeissonier. who contributed
over a hundred to this story and to the " Chau-
miere Indienne," published under the same cover.
All the best French and Enorlish eno-ravers col-
laborated. Even the printing was excellent, for
the use of overlays, made by Aristide Derniame,
A General Survey.
21
had begun to be fully understood.' The jirinters'
name deserves to be remembered : Everal et
Cie.
After this, for some ten years, there was a
perfect deluoe of finely illustrated books. The
" \'icar of Wakefield," with Jacque's drawings,
^--^l^l^^^^
BY THURSTON. FROM TASSO i BOHNJ.
Engra\ed on wood by Corbould.
Moliere, " Don Quixote," " Le Diable Boiteux."
Magazines, too, were brought out; the " ]\Iagazin
Pittoresque," which had started in 1S33, published
in 1848 JNIeissoniers "Deux Joueurs," engraved
by Lavoignat ; in many ways this remains, even to-
' Charles Whittingham, the founder of the Chiswick Press,
who died in 1S40, has the credit of being the first printer in
England to use overlays, and as an early example might be
mentioned, "The Gardens and Menageries of the Zoological
Society delineated,'' published by Tilt in 1S30, containing
drawings by William Harvey, engraved by Branston and Wright,
assisted by other artists.
22
Modern Illustration.
day, one of the best pieces of facsimile wood-
engraving ever made. At that time it was simply
iinapproached anywhere. In " L'Artiste " and
YKOM CRUIKSHANK'S "THREE COURSES.'
Engraved on wood by S. Williams.
" Gazette des Entants," 1840, will be found many
remarkable lithographs by Gavarni ; but most of
Daumier's works must be looked for in the cheaper
prints, notably in " La Caricature," where also may
A General Survey.
23
be found, from 1830, in lithography the work of
Delacroix, Monnier, Lami, and others.
FROM CRUIKSHANK'S "THREE COURSE?."
FROM CRClKsHANRS "THREE COURSES.'
Wood-engravings, not signed.
In England, too, very good work was being
done, though it was not so absolutely artistic as the
24 Alodern Illustration.
French. Among the men who were working were
Thurston, Stothard, Harvey, Landseer, Wilkie,
Calcott, and Mulready. The " Penny Magazine"
was started in 1832 by Charles Knight. Gray's
*' Elegy "appeared in 1836, the " Arabian Nights"
in 1838, and, about the same time the "Solace of
Song," both containing much of Harvey's best work ;
while later came those drawings by Cruikshank,
which mainly owe their claim to notice to the
marvellous interpretations of them made b\- the
Thompsons and the Williamses. In England,
however, the engravers were seeking more and
more to imitate steel, the artist's simplest washes
being turned into the most elaborate cross-hatch-
ing, which made each block look as if it were a
mass of pen-and-ink or pencil detail, when no such
Avork was ever put on it by the draughtsman. The
artist was ignored by the engraver, until finally the
latter became absolutely supreme, that is to say,
his shop became supreme, while the artist who.
when he had the chance, could give on a piece of
wood an inch or two square, most beautiful, even
great, effects of landscape, was subordinated wholly
to his interpreter. For an accurate account of this
inartistic triumph I would recommend the works of
Mr. W. J. Linton.
In France the art of illustration continued to
improve. It culminated in 1S5S in the " Contes
Remois," with Meissonier for drauofhtsman and
T • •
Lavoignat and Leveille for engravers. These
illustrations are absolutely equal to Menzel's best
work, and are by far the finest ever produced in
France.
A General Szcrvey. 25
I had always supposed Menzel to occupy a
position quite as original as Bewick's. But I find
that he was really a follower of Meissonier.
His " Life of Frederick the Great" was not pub-
lished until 1842, while the "Paul et Virginie"
had appeared in 1835. Besides, the first of his
drawings for the "Frederick" Menzel confided
to French engravers/ especially to the men
who had reproduced Tony Johannot. But this
artist's illustrations, though in point of size the
most important, in point of excellence are the
worst in the French book, being not unlike charac-
terless steel engravings. It is therefore not surpris-
ing that Menzel was dissatisfied with the results,
and that he proceeded at once to train a number of
Germans to produce engravings of his work in/ac-
simile. The best of these men were Bentworth,
Unzelmann, the Vogels, Kreitzschmar, who en-
graved the drawings for the "Works of Frederick
the Great," and the " Heroes of War and Peace,"
those monuments to Menzel'sartand German illus-
tration. Indeed, it seems to me that, until the
introduction of photography, there is little to be
said of German illustration that does not relate
entirely to Menzel and Dietz, and some of the
artists on " Fliegende Blatter," w^hich was founded
in 1844.
But in England it is just before the invention
of photographing on wood that some of the most
marvellous drawings were produced ; really the
most marvellous that have ever been done in the
' Rather English and French, Andrew, Best, Leloir.
26
Aloderu Illustration.
country. It Is true that Sir John Gilbert had been
making his striking and powerful designs, Mr.
BY BIRKET FOSTER. FROM " LONGFELLOW'S POEMS " (BELL).
Engraved on wood by Vizetelly.
Birket Foster his exquisite drawings, while much
good facswiile work was done after Mr. Harrison
Weir ; the Abbotsford edition of Scott was
BY SIR JOHN GILDERT. FROM MARRVATS " MISSION " (BOHN).
Engraved on wood by Ualziel.
;Y DANTE GABRIEL ROSSETTI. FROM '" TENNYSON'S POEMS.
Moxon, 1857. Engraved on wood by Dalziel.
BY DANTE GABRIKL ROSSETII. PROCESS BLOCK FROM A DRAWING
IN THE POSSESSION OF EDMUND GOSSE, ESQ.
A General Survey.
27
appearing, and the " Liber Studiorum ; " true, also,
that the " IHustrated London News," started in
1842, had done much to raise the general standard ;
>>>:"
BY BIRKET FOSTER. FROM " LONGFELLOW'S POEMS" (BELL).
Engraved on wood by H. Vizetelly.
"Punch," also, was commenced in 1842; much,
too, had been accomplished in lithography. Still, it
is with the appearance of Frederick Sandys, Ros-
setti, Walker, Pinwell, A. Boyd Houghton, Small,
D
28
Modern Illustration.
Du Maurier, Keene, Crane, Leighton, Millais, and
Tenniel, with the pubhcation of the " Cornhill,"
"Once a Week," "Good Words," the "Shilhng
Magazine," and such books as Moxon's "Tenny-
son," that the best period of EngHsh illustration
beeins. Mr. Ruskin's own drawino-s for his books
must not be forgotten.
BY BIRKET FOSTER. FROM "BELL'S SCHOOL READER."
Wood-engraving" unsigned.
Among the English engravers, outside of the
large shops of Dalziel and Swain, there are only
two names that stand out conspicuously : W. J.
Linton and W. H. Hooper. The excellent work
of the latter, unfortunately, has been overshadowed
by that of Mr. Linton, who, however, cannot be
considered his equal as an engraver.
In America F. O. C. Darley was certainly the
BY BIRKET FOSTER. PROCESS BLOCK
'^^^ ;f , FROM AN ORIGINAL DRAWING ON
''-''^ THE WOOD BLOCK, NEVER
ENGRAVED.
A General Survey.
29
first illustrator, while the French tradition was
carried on for years in " Harper's Magazine" by
C. E. DcEpler, who produced some very excellent
little blocks. Harper's "Illuminated Bible," with
more than fourteen hundred drawings by J. G.
Chapman, engraved by J. A. Adams, was begun in
?^fe^
BV BIRKET FOSTER. FROM "GOLDSMITH'S POEMS " (BELL).
Engraved on wood by Dalziel.
i837,andfinishedin 1843, But the greatest number
of the better American drawings were either bor-
rowed from English sources, or, as in the case of the
American Tract Society^' English artists, like Sir
John Gilbert, were commissioned to make them.
After the Civil War, the first man to appear pro-
minently was Winslow Homer. Contemporary
with him, and later, were John La Farge, Thomas
30
Modern Ilhistration.
and Peter Moran, Alfred Fredericks, W. L. Shep-
herd, and the older of the men working to-day.
BY HARRISON WEIR. FROM POETRY FOR SCHOOLS (BELL).
Among the caricaturists, Thomas Nast was pre-
eminent.
E±=.
BY HARRISON WEIR. FROM POETRY FOR SCHOOLS (BELL).
Engraved on wood by A. Slader.
There is one /\merican book, however, which
deserves special mention. This is Harris's " In-
A General Survey.
31
sects Injurious to Vegetation," the drawings for
which were the work of Sourel and Burckhardt.
It is one of the most artistic books of the sort
ever pubHshed in America or elsewhere. Then,
too, amid a flood of other things, appeared, in 1872,
" Picturesque America," and later " Picturesque
Europe," which then reached really the high-water
BY HARRISON WEIR. FROM A WASH DRAWING ON THE WOOD,
mark of American publishing enterprise in the
United States, just as surely as Dore at the same
time in France and England was the most ex-
ploited of all illustrators. The greater number of
drawings for these books were made by Harry
Fenn and J. D. Woodward. The profession of
illustration at this period must have been almost
equal to that of gold-mining. Everything the artist
chose to produce was accepted. It would be more
accurate to say everything he half produced, for
the school of Turner being then superseded by that
32
Modern Ilhistratioii.
of Dore, wood-engravers, like Pannemacker, for
instance, had been specially trained by the artist
to carry out the ideas which he merely suggested
on the block.
But a change was coming ; the incessant output
of illustration killed not only the artists themselves,
but the process. In its stead arose a better, truer
method, a more artistic method, which we are even
now, only developing. This later American illus-
tration may be said to have had its beginning in
the year 1876.
BY A. COOPER. FROM WALTON'S " ANGLER " (BOHN).
Engraved on wood by M. Jackson.
by randolph caldecott. from "old christmas"
(macmillax, 1875).
CHAPTER II.
THE METHODS OF TO-DAY ; THEIR ORIGIN AND
DEVELOPMENT.
M
ODERN illustration belongs essentially to
our own times, to our own generation.
To the last quarter of the eighteenth century
several writers on the subject have traced its
beginning. But in a measure only is this theory
justified by fact. All dates are difficult and elusive.
It is not easy to point to the exact year when the
old came to an end and the new beo^an. Even in
cases when a certain date, 1830 for example, seems
to mark a positive barrier, it does so only because,
with constant use, it has become the symbol of a
certain change.
But the cause of this modern development is
not hard to discover. It was the application of
photography to the illustration of books and papers
which established the art on a new basis. As the
invention of printing gave the first great impetus
to illustration, so surely has it received its second
34 Modern Illustration.
and more important from the invention of photo-
graphy. The gulf between primitive illuminated
manuscripts and Holbein's "Dance of Death" is
not wider than that which separates the antiquated
"Keepsakes" and " Forget-Me-Nots" from the
"Century Magazine" and the "Graphic." The
conditions have entirely altered.
Greater ease of reproduction, greater speed,
greater economy of labour have been secured, as
well as greater freedom for the artist, and greater
justice in the reproduction of his design. As a
consequence, illustration has increased in popu-
larity, the comparative cheapness of production
placing it within reach of the people who have ever
taken pleasure in the art, since the days when all
writing was but picture-making ; it has gained
artistically, since the fidelity of the facsimile now
obtained has induced many an artist of genius, or
distinction, to devote himself wholly to black and
white. If, on the one hand, this popularity threatens
its degradation (foolish editors and grasping pub-
lishers flooding the world with cheap and nasty
illustrated books and periodicals), on the other,
the artistic gain promises to be its salvation, for
not in the days of Dlirer himself was so large a
proportion of genuinely good work published.
The first attempt to photograph a drawing on
the block for the purpose of engraving, is said to
have been made in England, in 1851 or 1852, by
Mr. Langton, an engraver in Manchester, assisted
by a photographer whose name unfortunately has
not been preserved. It may be granted that this was
the first attempt. But artistically it was of small
BY CHARLES KEENE. FROM A PEN DRAWING IN THE
POSSESSION OF THE AUTHOR.
The Methods of To-day.
OD
importance, as nothing, so far as I know, directly
came of it. That the process was well enough
known in 1865 is proved by the following extracts
from the "Art Student" of that year : " The picture
is obtained in the usual way, and the film of collodion
afterwards removed by using a pledget of cotton
moistened in ether. A block so prepared works
as well under the graver as an ordinary drawing."
But I do not believe that even this process of photo-
graphing on the block was very practically used.^
To take one case in point, the " Amor Mundi " by
Sandys, published in the " Shilling Magazine " for
April, 1865, which I reproduced by photogravure in
" Pen Drawing and Pen Draughtsmen : " ^ the plate
was made from a negative taken from this design
after it had been drawn on the block. Mr. Swain
has told me that he photographed the drawing,
because he was so delighted with the ori<:{inal
(which he was about to cut to pieces) that he
wanted to preserve an exact copy. Now, had the
art of photographing drawings on wood been gene-
rally known, Mr. Swain would have photographed
the drawing on to another block, reversing the
negative, and kept the original. Instead, he simply
photographed the original before it was engraved.
The same thing is said to have been done with
some of Rossetti's illustrations for Tennyson ;
while Messrs. Dalziel kept back their " Bible
Gallery " for many years, until drawings could be
' I am mistaken in this, as many of Pinwell and North's
drawings, made on paper in 1 86 5-66 for Dalziel, were photo-
graphed on wood.
^ First edition 1S89.
36 Modern Ilhistration.
decently photographed on the wood. But the
practical application of photography to the trans-
ferring of drawings to wood blocks, although
probably known about as long ago as 1850, in a
few offices is scarcely practised to-day. I think,
however, one may safely say that about the year
1876 this practice became fairly general ; one may
therefore, for the sake of convenience, take the
year 1876 as the date of the beginning of modern
illustration.
As this change is probably the most important
in the whole history of the art, I think it may be
well to explain shortly how drawings were pro-
duced before the introduction of photography, and
how they are made now.
Before the time of Diirer and Holbein, the artist
was of small importance ; indeed, so too was the
engraver, though we hear much about him. The
artist made his drawing either on a piece of paper
or on the block. Judging from some of the work
in the Plantin Museum (the sole place where we
can obtain any actual data^), the design was made
in rather a free manner ; the argument against this
conclusion, of course, is that comparatively few
originals exist. There is, however, in the British
Museum a drawing of an Apollo by Diirer"^ on
which are the marks of a hard lead pencil, or
metal point leaving a mark, used to trace it, while
the word " Apollo " in the mirror is written back-
^ There are two or three seventeenth-century drawings on
the wood at South Kensington, and some, I believe, in the
British Museum.
* On paper.
BV CHARLES KEENE. FROM A PEN DRAWING IN THE
POSSESSION OF THE AUTHOR.
The Methods of To-day. ^7
wards. On the other hand, in the old Herbals
are cuts of the artist makinor his drawing from
nature, the draughtsman putting it on the block,
and the wood-cutter cutting it. When we come
to engraving on metal, we find that, though the
wood-cutter need not have been an artist, he
only having to follow lines given him, or to make
certain mechanical ones to suit himself, the metal
engraver was obliged to be an artist, because he
had to be able to copy the picture or design
entrusted to him. But mechanical aids were
found for him too, with the result that the later
engravings on metals, as well as the old woodcuts,
became the productions of shops, in which certain
parts were done by certain men, and the real artist,
whether he were draughtsman or engraver, had a
small share in the actual reproduction. The next
stage w^as the entire disappearance of the wood-
cutter, when finally all books were illustrated by
means of steel and copper. With Bewick who,
with a graver, engraved his own designs on the
end of the block, instead of cutting them with a
knife on the side of a plank, as everyone had pre-
viously done,^ there was introduced a new phase —
the possibility of drawing with a pen, or pencil,
or brush, or wash, upon the whitened surface of
box-wood, a good medium, a design which should
be absolutely facsimiled by the engraver. The
engravers of Bewick's time and until about 1835
or 1 840, being true artists and craftsmen, knew that
their business was to engrave the artist's design as
' At least, he was tlie first man to do important artistic
\vood-ens2:ravin<r.
38 Modern Illustration.
accurately and carefully as they could, since what
the latter wanted was the -sHqsoImX.^ facsimile of his
work and none of their suggestions. But by
the fifties, the artist either had become wholly
indifferent to the way in which his work was
engraved, or else he was absolutely under the
thumb of the engravers. His entire style, all his
individuality, was sacrificed for the benefit of the
engraving shop, from which blocks after him were
turned out. The head of the firm whose signature
they bore may never have done a stroke of work
on them. Even a man strong as Charles Keene
was completely broken up by this system, though he
may not have realized it. Artists were told that
they must draw in such a way that the engravers
could engrave them with the least time, trouble, and
expense. Two attempts were made to escape from
the wood-engraver who was again endeavouring to
reduce everything to 2, facsimile of steel : by the use
of steel plates themselves, as in the case of the later
editions of Rogers' "Italy;" and also, by the
practice of aquatint and lithography, in PVance
by such men as Gavarni and Daumier, and in
England by Prout, Roberts, Harding, Nash, and
Cotman. But lithography in this country, as a
method of illustrating books and papers, never can
be said to have become very popular, though in
France for years its employment was general.
The art of wood-engraving was dying in the
clutch of the engraver, when an artless process
came to its aid. For, at this crisis it was disco-
vered that a drawing made in any medium, upon
any material, of any size (so long as proportion
BV M. E. EDWARDS.' FROM GATTY'S "PARABLES" (BEI.L, 1867).
TJic Methods of To-day. 39
was regarded), mig-ht be photographed upon the
sensitized wood-block in reverse. The importance
of the discovery will be appreciated when it is
remembered that, before this, the poor artist, if he
were drawing the portrait of a place directly on
the block, w^as compelled to draw it the exact size
it was to be engraved, to reverse it himself, and to
have his actual drawing destroyed by engraving
through it. Once photography was used, the draw-
ing could be made of any size, it was mechanically
reversed, the original was preserved, and the artist
was free. Gone, however, according to the engraver,
was the engraver's art. It is true that the wood-
chopper disappeared : the man who could not draw
a line himself, and yet would pretend that his mecha-
nical lines, made with a graver or ruling machine,
were more valuable than the artist's, and who had
no hesitancy in changing the entire composition of
a subject if he did not like it. But his disappear-
ance was a great gain. In his place there arose
the latest school of wood-engravers. Many of the
new were perhaps no better than the old men,
for not knowinor how to draw, not being- artists,
they directed their energies often to the meaning-
less elaboration of unimportant detail. But at
least this work could always be corrected, now
that the original drawing was preserved and could
be compared with the print from the engraved block.
In England, from i860 to 1870 some very
remarkable drawinc^s were made and enoraved
upon the block. During the years just before the
introduction of photography, Walker, Pinwell,
Keene, Sandys, Shields, and Du Maurier were
E
40 Modern Illustration.
illustrating. To a certain extent, they seem to have
insisted upon their work being followed. Between
1870 and 1880, when the actual change was made
from drawing on wood to drawing on paper, even
a larcrer number of men were at work. The
"Graphic" and the "Century" were founded, and
enormous were the improvements in France and
Germany. But between 1880 and 1890 came the
greatest development of all. For these years saw
the perfecting and successful practice of mechanical
reproduction : that is, the photographing of draw-
ings in line upon a metal plate or gelatine film, the
biting of them in relief on this plate, or the mecha-
nical growth of a plate on the gelatine, resulting in
the production of a metal block which could be
printed along with type. This method of replacing
the wood-engraver by a chemical agent has, how-
ever, been the aim of every photographer since the
time of Niepce, who made the first experiments,
while the process was patented by Gillot on the
2 1 St of March, 1850.^ These ten years are also
noted for the invention of what is now generally
known as the half-tone process : that is the repro-
duction by mechanical means of drawings in wash,
or in colour, worked out in Europe by the Meisen-
bach process, in America by the Ives method. In
many ways wood-engraving as a trade or business
has been, it may be only temporarily, seriously
damaged. However, in the very short period
^ In France the credit for the invention is given to Dr.
Donne, who, about 1840, discovered that certain acids could
be used to bite in the whites or the blacks of a daguerreotype.
See also French chapter.
BY ARTHUR HUGHES. WOOD-ENGRAVING FROM
GORDON hake's " PARABLES "
(chapman and hall).
Tlic Methods of To-day. 41
since mechanical reproduction has been intro-
duced, those wood-engravers who really are
artists have been doing better work, because they
can now engrave, in their own fashion, the blocks
they want to. The art of wood-engraving has
progressed if the trade has languished.
The most modern of these developments are
worthy of special notice both in Europe and
America. But before pointing out the changes
and results that have come from them, it may be
well to say something about process. Upon this
subject there are two widely differing factions. It
is not at all curious that the artists, the men who
practise the art of illustration, should be found
almost unanimously on one side, while the critics,
whose business it is to preach about an art of
which they know nothing in practice, are ranged
upon the other. There are a few critics of intelli-
gence, who understand the requirements and limi-
tations of both process and wood-engraving, just
as there are hack and superior illustrators who
neither know nor care anything about any form of
reproduction.
Many advantages are claimed for wood-engrav-
ing. The print from an engraving on wood gives,
it is said, a softer, richer, fuller impression than
the print from the mechanically engraved process
block. But not in one case out of a hundred
thousand is the wood block itself printed from :
the illustration which delights the critics has, in
reality, been printed from a cast of the block
made of exactly the same metal as the cast from
the process block, and the softness, the velvety
42 Modern Illustration,
quality, is therefore due to the imagination of the
critic who is unable to tell the difference. Indeed,
to distinguish between a mechanically produced
block and one engraved on wood, provided the
subject of the drawing is reasonably simple, is so
difficult, that when neither of the blocks is signed,
no living expert on the subject would venture an
off-hand opinion. Between good facsimile engrav-
ing and good process there is really no difference
at all, excepting in a few particulars. For in the
mechanically engraved process block, to use the
ordinary term, the lines made by the artist on
paper, are photographed directly on to the metal
plate ; these lines are protected by ink which is
rolled upon them with an ordinary ink roller, the
sticky ink adhering to the lines of the photograph,
and nowhere else. This inked photograph is then
placed in a bath of acid, and the exposed portions
are eaten away ; the zinc or other metal block is
set up with a wooden back, type high, and is ready
to print from. The process is so ridiculously
simple that it can be done in a very few hours.
Process blocks for line work, and nearly always
half-tone blocks, have to be finished by a clever
engraver especially employed for the purpose. It
is very hard for him, as it leaves him no chance for
original work, but in course of time it is hoped
that the process will be so perfected that the
services of the engraver can be dispensed with.
There are other methods, such as that of using
swelled gelatine, to produce the same results, but
the biting of zinc that I have described is the most
popular.
1?V (;. R. SEYMOUR. WOOD-ENGRAVING FROM "THE MAGAZINE
OF ART'' (CASSELL).
The Methods of To-day. 43
In the case of the wood-engraving', the drawing
is photographed in the same way on the wood
block, but the engraver proceeds slowly, tediously,
and laboriousl)' with his tools to cut away the wood
and leave the lines in relief. This requires an
amount of devotion to painstaking drudgery which
is appalling. As many days will be given to the
production of a good wood-engraving, as hours are
needed to produce a good process block. The
results obtained by a hrst-class wood-engraver
on the one hand, on the other by the first-class
mechanical reproduction which is always watched
by a first-class man, may be so close as to be in-
distinofuishable. But there is no artistic o-ain in
employing the wood-engraver, while great artistic
loss is involved, since the latter, who can scarce
enjoy doing this sort of thing, is compelled to
waste his time in competing with a chemical and
mechanical combination which does the work just
as well ; besides, there is as much difference in the
cost as in the methods themselves, a process block
being worth about as many shillings as the wood-
engraving is pounds. As the results are equal, I
see no reason why the publisher should be called
upon to pay this large sum of money, unless he
wishes to, simply for what is absolutely a fad. I
admit, however, that facsimile engravings by the
early Englishmen and Frenchmen, and some of
the Americans and Danes of the present day, are
worth quite as much money as is asked for them.
But I am just as certain that mechanical engravers
will go on improving their mechanical process until
facsimile wood-engravers are left in the rear. Ordi-
44 Modern Ilhistration.
nary good process work, which can be printed
with type, is, at the present moment, equal to any
facsimile wood-engraving. The more elaborate
methods, such as the photogravure of Amand
Durand, are infinitely better, and only to be com-
pared to etching.
To contrast the mechanical reproductions of
black and white wash, or colour drawings with
wood-engravings after them is, however, another
matter. Many drawings, owing to the medium in
which they are done, will not as yet reproduce well
mechanically. Indeed, to have one's drawings
rendered satisfactorily, by the half-tone process,
requires such an enormous experience and know-
ledge of the improvements continuously being-
made in the many different methods used by the
different process men, that the artist, if he kept
posted in all the developments and modifications,
would have very little time left to produce works
of art of his own. On the other hand, the artist
may admire the work of a sympathetic wood-
engraver whom he is delighted to trust with his
drawings : it is always a pleasure to see the trans-
lation of a good drawing by a good wood-engraver.
From the point of view of engraving, nothing is
more hopelessly monotonous than process ; for the
aim of the process-man, as of some of the best
wood-engravers, is to render the drawing in wash,
or in colour, so well, that there should be no sug-
gestion of the methods by which the results are
obtained : to give the drawing itself, and this is
exactly, in the majority of cases, what the artist
wants. Naturally, he prefers an absolute reproduc-
'^:i&
^•%44-^?
^mm
BY SIR KDWARD BURNE-JONES. FROM THE ORIGINAL DRAWING
FOR GATTYS "PARABLES" (BELL, 1 867).
TJie Methods of To-day. 45
tion of his drawing, to somebody else's interpreta-
tion of it. He is not eager to have another person
interpret his ideas for the public ; he would rather
the public should see what he has done himself
with his own hands. This reasonable desire process
now begins to realize. By the half-tone process,
a photograph is made of a drawing with either
a microscopically ruled glass plate or screen in front
of it, which breaks up the flat tones into infinitesi-
mal dots, or squares, or lozenges ; or else, there is
impressed into the inked photo, in some one of a
dozen ways, a dotted plate which will give the
same effect.^ These dots, squares, or lozenges
lend a orain to the flat washes, translatino- them
into rectilinear relief, yielding a printing surface,
— accomplishing, in a word, the same end as the
wood-ensfraver's translation of flat washes into
lines and dots. The great objection hitherto to
half-tone process has been, especially in large
reproductions, that the squares or lozenges pro-
duce a mechanical look which is entirely absent
from a good wood-engraving, the very essence of
engraving being variety and, therefore, interest in
the lines drawn with the oraver. The crucial
point, however, is this : even the greatest wood-
engraver, in reproducing a drawing made in tone,
is forced to translate this tone by lines or dots ; in
fact, instead of the wash, to give lines which do not
exist in the original drawing. Though he may be
so clever as to succeed in reproducing the actual
values of the original, which he rarely does, he has
still entirely altered the original appearance of the
^ This method, I believe, is no longer used.
46 Modem Illustration.
work. The object of the half-tone process is to
^ive, not only these actual values, so often missed
by the engraver, but also the brush-marks and the
washy or painty look of the original, a result much
further beyond the powers of any wood-engraver,
than beyond the possibilities of process at the
present day. It is said that process reproduction
is but a mechanical makeshift, and this is a term
of reproach against it. But it must be evident
that wood-engraving, especially for the reproduc-
tion of wash, and, in a less degree, of line drawings,
is a far more mechanical makeshift. There is no
possible way in wood of representing the wash,
while in reproducing line on the block, at least
two cuts are required with the graver to get what
the mechanical process gives at once. Moreover,
as soon as the line drawing becomes at all compli-
cated, it is impossible for the engraver to follow it
on the wood block.
Therefore, it seems to me that the strictures
which have been applied to process are far more
applicable to wood-engraving. Now that wood-
engraving has become a medium for the reproduc-
tion of any and every sort of design, it has stepped
quite outside its proper province. Almost any-
thing can be done with a block of wood and a
graver, but it must be evident to people of average
intelligence that a very great gulf separates those
things which possibly can be done, from those
which rationally should be attempted. Still, to-day
any subject that can be engraved on wood may be
printed ; and if one likes to try experiments, why
should he be stopped ? The wood-engraver of
'J
■r. o
y. ■-.
u: -r.
o a
o
> '^
The Methods of To-day. 47
to-day has been compelled to suppress and efface
himself. When he proposes to reproduce another
man's designs, if he is really a great wood-engraver,
he reco^fnizes that his sole function is to render the
original, faithfully giving as much of the artist's
handiwork as possible, and as little of his own.
That this must be to many a most galling and
annoying position is evident. But to rebel against
it is absurd, and for the engraver to tamper with
an artist's original design is as unwarrantable as
for an editor to change an author's manuscript
after the final proof has left the writer's hands.
Inhere have been two, or perhaps three, great
periods of producing works of art on the block.
First, that of the old woodcuts, which were un-
doubtedly great, though what the draughtsmen
thought of them we shall never really know.
Secondly, the period of Bewick, who engraved his
own designs, and therefore was his own master,
doing what he wanted. And thirdly, to-day, the
o;reatest revival of all. Mr. Timothy Cole, in his in-
terpretations of the old masters (though some of the
painters whom he has reproduced might object to
certain things in his reproductions, they could but
admit that never before have such beautiful pictures
been made out of their own), has suggested one
field for the artist who is a wood-engraver ; the
creation of masterpieces in his own medium of
the painted masterpieces of other, or of his own
time. Again, we have a man like Mr. Elbridge
Kingsley working directly from nature, and pro-
ducintr the most amazinof and interestino^ results ;
or M. Lepere, who is engraving his own designs
48 Modern Illustration.
exactly as Bewick did, or else giving us those
marvellous originals in colour, only equalled by the
Japanese who, for ages, have been masters among
wood-cutters ; or Mr. Kreull, who is doing mar-
vellous portraits on the block.
With so broad a scope at its service in the
hands of artists, wood-engraving is not in the
slightest danger. With the added possibilities
of making new experiments, such as printing from
lowered blocks, reviving chiaroscuro, and an infini-
tude of other processes open to the artistic wood-
engraver, there is no probability of its becoming a
lost art. I have nothing but the highest praise
for the work of men like Cole, Kingsley, Gamm,
French J tingling, Baude, Kreull, Florian, Hen-
driksen, Bork, Hooper, and Biscombe Gardner.
This modern facsimile wood-engraving is magni-
ficent in its way, and is quite as legitimate and
decorative as any of the old work, only process is
bound to supersede the greater part of it. Wood-
engraving has survived the mediaeval mechanical
limitations which were imposed upon it by the
primitiveness of the printing-press, but which have
been made into its chief merits. It has survived
the ghastly period immediately succeeding Bewick,
when the sole end of the engravers on wood was
to imitate the engraver on steel or on copper. It
has survived the stage of the shop run by a clever
business-man who merged the individuality of all
his artists and engravers into that of his own firm.
It has survived the backing of Mr. Linton, which
at one time threatened to kill it entirely. And
the strain put upon it by magazine-editors and
BY KATE GREENAVVAY. KEY BLOCK WOOD-ENGRAVED BY
EDMUND EVANS FOR COLOUR PRINTING. FROM
"MOTHER GOOSE" (ROUTLEDGE).
The Methods of To-day
49
book-publishers has been reheved by the inter-
vention of mechanical process.
I believe that it will continue and flourish as an
original art, side by side with process, until it runs
against another of the snags or quicksands which
every half century seem to imperil it. Still, at the
present moment, its artistic outlook is very bright,
— so also is that of process.
DETAIL OF "THE DENTATUS " ENGRAVED
ON WOOD BY HARVEY, AFTER
HAVDOX.
BV E. ISABEV. FROM "PAUL AND VIRGINIA.
Engraved by Slader.
CHAPTER III.
FRE^X"H ILLUSTRATION.
TH E nearer we approach our own time, the
more difficult it becomes to write of illus-
tration. For, although it is the duty of an editor,
and even of an artist, to note all that is going on
around him, at the present time this is almost
impossible, so great is the output from the press,
so varying are the fortunes of many artists. The
man who, one day, promises to revolutionize all
illustration, the next, disappears, or, worse still,
becomes absolutely common-place. And process
supersedes process with a rapidity that is per-
fectly bewildering.
But it seems best to begin with modern illustra-
tion in France, where the greatest activity has,
until lately, existed. In the decade from 1875 to
1885, nowhere in the world were such big men
working, or having their work so well reproduced.
Fortuny and Rico, settled in Paris, were exhibiting
their marvellous drawings. If Meissonier had
French Illustration.
51
ceased to illustrate, Dore, Detaille, De Neuville,
and Jacquemart were at the height of their powers.
The first great book illustrated by process appeared
in the midst of this period : Vierge's " Pablo de
Segovie," published in 1882 ; while the last years
saw the appearance of the Guillaume series which,
it was believed, would prove to be the final triumph
of process. At the same
time Baude, Leveille, Le-
pere, and Florian were
busy producing their
masterpieces of wood-
encrravinQT. Publishino^
houses were issuing the
most artistic journals, pro-
bably, the world has ever
seen : " La Vie Moderne,"
" L'Art," " La Gazette des
Beaux-arts," " Paris II-
lustre," "La Revue Illus-
tree," " Le Monde Illustre,"
" L' Illustration," and " Le
Courrier Francais."
But from 1885 onward,
there has been a change,
and this chanore is not difficult to account for.
There are too many illustrators and too few pub-
lishers— I mean publishers worthy of the name —
and, most important, too few real artists.
When, in 1S79. the new process of " Gillotage."
as all process is described in France, was reasonably
perfected — Jacquemart's " Histoire de Mobilier,"
being one of the first important books to be repro-
BY GAVARNI.
FROM "PARISIANS BY
THEMSELVES."
Reduced from the \vood-
enorravinii".
Modern Illustration.
duced mechanically — every artist wished to try it.
The consequence was that the catalogues of the
Salon, the weekly papers and monthly magazines,
were made bright and gay and charming with
autographic artistic work ; while wood-engravers,
feeling that their art was in danger, were put upon
their mettle and enoraved a multitude of amazinof
blocks. Now that illustration has arrived, and by
: its aid many of the biggest
^^^^tdJ ' vci^xi in France have ar-
rived too, there has come
a period of commonplace-
ness and content. The
Frenchman, who is even
more insular in his views
of art than the English-
BY MEissoNiER. FROM THE Hiau, — unlcss his art is
"coxTEs REMois."' brouglit to him, when he
Engraved on wood by proves himself catholic
Lavoignal. enough,— knows that bad
work is being turned out in his own country,
but believes that the same thing must be happen-
ing the world over, though he has heard vaguely
of the American magazine, the German paper,
and the English book. But since 1885, it may
be said that every French periodical has fallen
away in quality, if it has not ceased to appear
altogether. The fine and expensive volumes,
which in 1835 were published in France, have
been succeeded by the three-franc-fifty Guillaume
form, which, since the immortal " Tartarin," has
degenerated steadily both in number and excellence
of illustrations. Lookino- back on the original
French Illustration.
53
series, it does not seem so very fine, but ei_f(ht
years ago it was an enormous advance on anything-
^fe.„.
JEAN GIGOUX. FROM "GIL BLAS " (FRENCH).
Wood-engraving, unsigned.
that had been done. Even then, however, there
was a rumour that this excellence was obtained at
the expense of the artist, and that most of the
F
54 Modern Ilhtstration.
clever work of Myrbach and of Rossi was more in
the nature of an advertisement than anything else.
It is perfectly well known that even \"ierge had to
await the generosity of an English publisher to
recompense him for " Pablo de Segovie." It will
also be found that certain of the large French pub-
lishinof houses and leadino- magazines have become
limited companies, or " Societes Anonymes ; " while
men, who may be clever enough in business affairs,
have been set to direct artistic matters of which
they are entirely ignorant. If the standard of
illustration is daily falling in France, this fall is
owing mainly to the incompetence of editors and
the rapacity of publishers. To-day, if one wishes
to see the best work of French draughtsmen and
engravers, one looks abroad for it, to America first
and then to England and Germany, where French
artists are forced to publish their drawings in
order to obtain adequate pay or decent printing.
It is pitiful, but the example is very contagious.
Another cause too has operated against the pro-
duction of line books and fine magazines. This is
the " Supplement litteraire et artistique " given
away each week with papers like " Gil Bias,"
" L'Echo de Paris," "La Lanterne," " Le Petit
Journal," and occasionally " Le Figaro." It is
especially in " Gil Bias " that the best French
work is now to be found, usually printed in colour.
But most of the others — there are notable excep-
tions— either publish the veriest drivel and dirt,
both from the literary and artistic standpoint, or
else the drawings of mere boys and girls just out
of the art schools, who Sfive their desio^ns to the
French Illustration.
55
publishers for little more than the sake of having
their names in the papers. Under these circum-
stances, which actually exist, it is becoming- well-
nigh impossible for a draughtsman to live in
.-Zi?
BY JACyUEMAKT.
PEN DRAWING. FROM THE
OF FURNITURE.'
HISTORY
France. Printing, too, has degenerated, until
French printing now ranks with the worst.
On the other hand, a few firms, like Goupils,
are producing excellent colour work in the most
expensive fashion, and good cheap prints as well.
56
Modern Illustration.
The printing of Guillaume for Dentu's " Le
Bambou " — most of the illustrations are on wood
— is to be commended, as it shows off the work
of artists and engravers to perfection. While
one notes clever paper-cover designs on many
new books.
That bad or mediocre work is supreme in France
at the present time is proven by the fact that two
BY JACQUE.MART.
PEN DRAWING. FROM THE "HISTORY
OF FURNITURE."
of the most artistic journals have ceased to appear;
Goupil's " Les Lettres et les Arts," and Octave
Uzanne's " L'Art et L'Idee." Neither of these
magazines was very expensive to produce, — that is
in comparison with many others. But it is a self-
evident fact, to anyone who has studied illustration,
that the art passes every few years through periods
of great depression ; in France, art of all sorts is
at the present moment in the most disorganized
French Illustration.
57
and unsettled state, and illustration is in as bad a
way as any other branch. Nor is it for lack of
illustrators, but because some of the publishers and
editors of the country — and France is not solitary
and alone in this matter — are a set of money-
grubbing, ignorant fools, who have been able tem-
porarily to impress their contemptible view of art,
or rather their miserable failure to understand it
from any other stand-
point than that of their
money-bags, upon a
sufficient number of
gullible people to make
a fairly good living for
themselves out of the
public ignorance. And
as for the rest of the
world, why what of it ?
It is true Steinlein rivals
Gavarni, and Marold,
engraved by Florian,
equals in certain ways
Meissonier, engraved by Orrinsmith ;— but in the
majority of cases politics sit on art, and the photo-
graph glares from the pages of the edition de luxe.
To-day an attempt is also being made to revive
wood-eneravinor in France, and almost all over
the world, except in England — where nothing
would be known of any revival, or improvement,
until long years after the w^hole matter had been
settled and pigeon-holed everywhere else — and in
America, where every endeavour now is made to
perfect process. But the reason for this revival
BY MEISSONIER. FROM THE
WOOD-ENGRAVING IN THE
"CONTES REMOIS" BY LA-
VOIGXAL.
58 Modern Illustration.
In France, Germany, and the other countries of the
Continent is not the advancement of the art of
wood-eng-raving, or the benefit of the wood-en-
graver; it comes from the willingness of good wood-
engravers to work very cheaply, simply to secure
the chance of working at all, and also from the
increase of the electrotype business. Although
an enormous trade has been developed in the
production of electrotypes from large wood-en-
gravings for publication In different papers, I am
informed that editors who wish to make use, at
so much an inch, of the brains of other people,
will not publish electros from process blocks, for
some reason known to none but themselves, only
buying cliches from wood blocks. However, it is
quite possible that this revival of wood-engraving
may encourage original work, and a new period of
fine original engraving may be its result, little as
those who are brlno^Inof this result about are
interested in it.
A few words as to the men, and the books they
have illustrated. The artist who was most in
evidence twenty years ago was Gustave Dore.
The unceasing stream of books which continued
for years to delight the provinces and to amaze
his biographers was then at its flood. That Dore
was a man of the most marvellous imagination, no
one will doubt ; that his imagination ran completely
away with him is equally true. He has had no
influence upon anything but the very cheapest
form of wood-engraving. Though it is easy to
understand his popularity, it is difiicult, consider-
ing how much really good work he did, to explain
BY GUSTAVE DORF. WOOD-ENGRAVING FROM
(CASSELL AND CO., LIMITED).
French Illustration.
59
why he has been completely ignored as an artist.
There is no question that some of his compositions
BV A. DE NEUVILLE. FROM "COUPS DE FUSIL " (CHARPENTIER).
Wood-engraving by Farlet.
were magnificent, even if every figure and type in
them was mannered and hackneyed to a horrible
degree. The only way in which we can account
6o
Modern Illustration.
for his utter failure as an artist, is the fact that he
was ruined by the praise of his friends. Although
Dore started as a lithographer, carrying on the
traditions of his immediate predecessors and con-
temporaries, Daumier and Gavarni, Raffet and
Charlet, he soon took
to drawing on the
block, and for years
the world was inun-
dated with his work.
In popularity no one
ever approached him,
but his drawing- on
the block is no more
to be compared to
Meissonier's, than his
lithographs to Ga-
varni's, who contri-
buted some of the
most exquisite designs
to " L' Artiste" in its
early days.
In Alphonse de
Neuville's " Coups de
Fusil," one will find
most delightful renderings of the late war, while
many of his illustrations to Guizot's " History
of France," or " En Campagne" are superb. His
rival and successor, Detaille, has carried on the
military tradition very well in " L'Armee Fran-
9aise," which contains the best illustrations of any
sort that he ever did. P. G. Jeanniot also has done
excellent work in the same field, but his studies of
BY GUSTAVE DORE.
Process block, from a Lithograph.
V'
^
x^
French Illustration. 6i
Parisian types are probably still more successful.
The best work of all is probably contained in
Dentu's edition of "Tartarin de Tarascon." L.
Lhermitte, too, has made some striking drawings
in charcoal, both for reproduction by photography
and for engraving on wood, especially in "La Vie
Rustique," where the designs were extraordinarily
well engraved. Jean Paul Laurens heads a long
list of painters who have made many pictures in
black and white for the illustration of books, but
most of them are duller as illustrators than
painters. Maurice Leloir and V. A. Poirson have
illustrated the "Sentimental Journey," the "Vicar
of Wakefield," and some other English books,
though their point of view is always that of the
Frenchman who knows little about England ; their
drawings were reproduced mainly by photogravure,
with small blocks printed in colour, or black and
white process, interspersed. About 1880 an illus-
trated theatrical journal was started, " Les Premieres
Illustrees," and in this F. Lunel, Fernand Fau.
L. Galice, G. Rochegrosse, and A. F. Gourget
did remarkable work. Some of the painters, too.
have allowed their sketch-books to be used, and
from them books of travel have been manufactured,
but these are hardly to be considered seriously as
illustrations, as they were not specially made for
the works which contain them.
Daniel Vierge's " Pablo de Segovie," though the
work of a Spaniard, has for twelve years held its
own as the best example of pen drawing for pro-
cess reproduction published in France. Following,
a long way behind, come men like Henri Pille and
62
Modern Ilhtstratioit.
Edouard Toudouze. The development of the
Giilllaume half-tone process produced the curious
series of Httle books known under that title ; and
also the larger series which contained " Madame
BY LOUIS MORIX. PEN DRAWING. FROM " L'ART ET L'IDEE."
Chrysantheme " and " Francois le Champi," books
which made tone-process in France, and also the
reputation of Myrbach and Rossi.
Several fine and limited editions have been
published lately, illustrated by Albert Lynch,
Mme. Lemaire, and Paul Avril, such as the "Dame
aux Camelias ; " while Octave Uzanne's series on
5Y CARLOS SCHWABE. PEN DRAWING. FROM ZOLA'S " LE REVE.
--^ t^\
1-.' — ^'' <^
BY EUGENE GRASSET. PEN DRAWING FROM " LES
QUATRE FIES d'aYMON " (PARIS).
BY EUGENE GRASSET. PEN DRAWING FROM " LES QUATRE
FILS D'aYiMON (paRIS).
French Ilhistration.
63
fans and fashions were a great success. So, too, are
many of the books issued by Conquet. Robida's
designs for Rabelais virtually superseded those of
Dore, and he followed up the success of this book
with a number of others which have gradually
deo^enerated in quality. Louis Morin, who is
Grasset, who, not
author as well as artist ;
content with this, is an
architect too, and whose
" Ouatre Fils d'Aymon "
should be seen as a beau-
tiful piece of colour-print-
ing ; and Georges Auriol
have done extremely good
work in their different
ways. Felicien Rops is
a man who stands apart
from all other illustrators;
he possesses a style and
individuality so marked
that, at times, it is not
easy to obtain any of his
books, so carefully are
they watched by that Cer-
berus of the press : the social puritan, who never
jails to see anything to which he can possibly
find objection. From the mystic Rops, have
sprung, one might almost say, even more mystic
Rosicrucians, headed by Carlos Schwabe, who
has produced, in " Le Reve " of Zola, one of the
most beautiful and refined books, despite its dis-
graceful printing, ever issued from the French
press.
BY I.OUIS MORIN.
ING. FROM
l'idee."
PEN DRAW-
' L'ART ET
64
Modern IlliLstration.
But less mystical, and, possibly, even more beauti-
fully drawn, are some of Luc Ollivier Merson's
designs, notably those for Victor Hugo's works : a
charming series of drawings, etched, I think, by
PEN DRAWING BY JACQUEMART.
Lalauze — to the national edition of Hugo almost
every French painter has contributed— and the
more mystic but less accomplished Seon is another
of the same group ; while the latest and most
advanced are the Vebers. The list of really
clever men is lonof. Marchetti and Tofani,
French Ilhistratmi.
65
Italians, whose work, continually seen in the sup-
plements to " L' Illustration," is eno-raved with
Raffaelli, who,
has decorated
the greatest charm and distinction ;
though he draws but little now,
during the last fifteen
years some of the most
notable French books.
Giacomelli, Riou, Ba-
yard, Haennen, Adrian
Marie, ^ Metivet, who
are willing, at a mo-
ment's notice, to make
you a drawing, often
distinguished, of any
subject, no matter
whether they have
seen it or not, though
Giacomelli is best
known for his render-
ings of birds and
flowers, often very
charming; Habert
Dys and Felix Re-
gam ey, who have
adapted the methods
of Japan to their own
needs ; Paul Renouard whose work is, as it
should be, appreciated in England, and who has
the distinction, when any important event is
coming off in this country, to be commissioned by
the " Graphic" to cross the Channel and "do" it;
H. IBELS. FROM " L'ART DU
RIRE ET CARICATURE."
Adrian Marie and Emile Bayard died lately.
66
Modern Illustration.
Boutet de Monvel, whose books for children have
gained him a world-wide reputation ; the long list
of delineators of character, costume, and carica-
BY H. IBELS. FROM " L'ART DU RIRE ET CARICATURE.'
ture who weekly fill the lighter papers : Ibels, the
decadent of decadents, Caran d'Ache, Willette,
Steinlein, Mars, Legrand, Forain, Job, Guillaume,
and Courboin, whose work can be seen more or
BY STEIXLEX. PROCESS BLOCK FROM COLOURED PRINT IN
'• GIL BLAS."
BY STEINLKN'. REPRODUCED FROM A COLOURED PRINT IN
"GIL BLAS."
'' ^''' mMM- ^
iS-S
French Illiistrafioii.
67
less badly reproduced every week in the comic
papers to which they contribute. Caran d'Ache
BY ROBIDA. PEN DRAWING. FROM "JOURNAL D"UN
TRES VIEUX GARrON."
has made himself, one might almost predict, a last-
ing reputation with his " Courses dans I'Antiquite,"
his " Carnet de Cheques," and his various other
68
Modern Illustration.
"Albums." A. Willette, when not playing at
politics, is seriously working at his adventures of
Pierrot. Steinlein, in his ilhistrations to Bruant's
" Dans la Rue," probably did as much as the
author to make known the life of Batignolles. Mars
rules the fashions of the provinces, while if one
BY A. WILLETTE. FROM " LE3 PIERROTS" (VANIER).
were to take Forain's Albums as absolutely typical
of French morals, France certainly would seem the
most distressful country on the face of the earth.
To Grasset and Cheret, Lautrec and- Auriol have
fallen the task of looking after the so-called deco-
rative part of French work. But the fact that not
only these men will do you a poster, a cover
design, a head, or a tail-piece, but that almost all
W-' ^%
/
.^O"-
BY FORAIX. FROM " LA COMEDIE PARISIEXXE" >^CHARPENTIER).
BY P. RENDU ARD. CHALK DRAWING. FROM "THE GRAPHIC
French Illustration. 69
others will too, is a positive proof that decoration
cannot be separated from illustration, and also
that all true artists are decorators.
Among wood-engravers, Baude and Florian
hold the foremost place as reproductive artists,
while Lepere stands quite apart, a brilliant many-
sided man, at once draughtsman, engraver, etcher,
and painter, a true craftsman in the best sense.
Another man, F. Valloton, is making an endeavour
to revive original wood-cutting, and though but
few of his cuts are anything like so good as
" Enterrement en Province," he is the leader of a
movement which may result in the resurrection,
or indeed the creation of an original art of wood-
cuttino-. But this desire of artists to enorrave and
print their own v/ork is growing in France, as maybe
seen in such a collection as " Estampe Originale."
Pannemacker and his follow^ers have been the most
popular, and their influence has been felt, some-
times with distinction, in all cheap French wood-
engraving.
After enumeratinor this longr list, it seems as if I
had contradicted my own rather pessimistic view
of illustration in France. I do not think so. It is
true that the artists, though few in number, are in
the country, but to-day the opportunities for them
to express their art are lacking : as a proof, the
only book devoted solely to P^rench illustration
which has ever appeared has just been published
in America.
BY LALANxVE. FROM A PKXCIL iiRAWING. (FRENCH.)
CHAPTER IV.
ILLUSTRATION IN GERMANY, SPAIN, AND OTHER
COUNTRIES.
TN writing upon drawing on the Continent, I
have heretofore found it only necessary to
classify illustrators under three nationalities. In
discussing illustration it seems to me that this
question of nationality can be even further sim-
plified. Italy and Spain have not produced a
single original illustrated book of real importance.
Although several of the foremost illustrators of
the day were born in one or the other of these
countries and partially educated there, they have
left their native land as quickly as possible, for
France or for Germany.
In Italy the important publishing house of the
Fratelli Treves, in Milan, has made many attempts
to bring out fine books, the works of de Amicis
being among their best-known productions, but
this importance comes from their literary rather
than artistic side ; and I am not aware that the
Fratelli Treves have ever done anything to surpass
Illitstyatiou in Gennany, etc. 71
the "Cera una Volta" of Luigi Capuana, illus-
trated by Montalti, published in 1885, a most
extraordinary example of the skilful use oi papier
Gillot, or scratch paper. The Fratelli Treves
issue a large number of magazines and papers,
a certain amount of good newsy wood-engraving
is seen in these, process having been almost
entirely given up, especially in the leading illus-
trated Italian weekly, " L'lllustrazion Italiana."
In Spain I know of no notable illustrated books
published of late. I may be labouring under a
mistake, but I must frankly admit that I have
never heard of, or seen any.^ If they do exist I
should be only too glad to have them brought to
my notice. But there are two very good illus-
trated papers, "Illustracion Espanolay Americana"
and " Illustracion Artistica." To both, Fortuny,
Rico, Vierge, and Casanova — especially Rico —
have contributed important drawings. These
journals are now almost entirely using wood-
engravings, some of which are very good indeed.
They are mainly, however, reproductions of the
typical Spanish historical, or story-telling, machine
which is turned out with such facility by a large
number of Spaniards. But the bulk of the work
is made up of cliches from American papers and
magazines, in which matter I find that even I
have proved a useful mine.
Dutch books are not remarkable. Here and
there a good drawing may be found in a magazine
called " Elsevir." Though in Holland there is an
See note p. 78.
72
Modern I Ihist ration.
artist, H. J. I eke, who, in his studies from the old
masters in pen
and ink, evin-
ces a power
and brilHancy
only equalled
by reproduc-
tive etchers
like Mr. Hole,
Mr. Macbeth,
or Mr. Short.
The same is true of Bel-
gium. Austria and Hun-
gary have little to show,
their illustrators, like Myr-
bach, Marold, and Vogel,
coming to Paris, or sending
their work to Munich, for
the publishers mainly ig-
nore their own artists, and
either send abroad for their
designs, or borrow and
adapt from other men's
work with a recklessness
which is charming. And
yet, the only international
black-and-white exhibition
was held in Vienna a few
years ago ; while one of the
best photo-engraving firms
in the world, Messrs.
Angerer and Goschl, are
Russia and Scandinavia are equally
FROM AN ORIGINAL PEN
DRAWING BY H. TEGNER.
located there,
H
^ }■
'^'
\^\
.^^.
m' '
'' -'J
*»^.
!V ADOLPH MENZEL. PR0CF:SS BLOCK FROM ORIGINAL
DRAWING IN THE POSSESSION OF THE AUTHOR.
Illustration in Germany, etc. 73
unfortunate in the matter of illustrated books, all
of the artists of these countries being in Paris,
London, or Xew York, and their work only finds
its way back to their native countries as cliches.
Men like Chelminski, Edelfelt, Repine, Pranish-
nikoff really owe all their reputation, not to their
native land, but to the country of their adoption.
There is, however, one little country that de-
serves more than a word of mention, and this is
Denmark. For it can boast an illustrator of
individuality and character, Hans Tegner. His
drawings for the jubilee edition of " Holberg's
Comedies," published in Copenhagen in 1884 to
1 888, must be ranked as masterpieces of graphic
art. Though evidently based on the style of
Menzel and Meissonier, they are quite indivi-
dual ; especially in the rendering of interiors
crowded with people he has surpassed any
living illustrator. This book is also interesting
from the fact that while it was being produced the
change was made iroxn facsimile wood-engraving to
process, and though the engraving of Hendricksen
and Bork is excellent, the process blocks in some
ways are even more interesting. The decorations
to these volumes, head and tail-pieces, are as
atrociously bad as Tegner's illustrations in the text
are grood. There are also a number of lesser
artists, Danes and Norwegians, who have done
good work, but to name them would merely be
to make a catalogue, as their work is never seen
here.
During the last three-quarters of a century
German illustration has been absolutely dominated
74
Modern Ilhtstration.
by Menzel. Not only has he been the leading
spirit in his own country, whether he was influenced
originally by Meissonier or not, but he has him-
self influenced the entire world of illustrators,
his drawings having been received with rapture
and applause by artists wherever they have been
shown. And, most interesting of all, he is a man
who has been perfectly able,
throughout his long life, to
adapt himself to the various
radical changes and develop-
ments which have been
brought about in reproduction
and printing. Commencing
with lithography, he produced
the amaziuCT series of draw-
ings of the uniforms of
Frederick the Great. Next,
taking up drawing on wood,
he introduced exquisite fac-
simile work into his own
country, educating his omu
engravers, Unzelmann, Bent-
worth and the Vogels, in his edition of the " Works
of Frederick the Great." Later on he drew much
more largely and boldly for the " Cruche Cassee,"
which was freely interpreted on wood. And now
he has so arranged his beautiful drawings in pencil
and chalk that they come perfectly by process. He
is a man who recognizes fully that we have not
got to the end of art, but that unless we are ever
pushing onward, and striving for improvements,
we may very easily get to the end of ourselves.
BY GOYA. FROM
" CArRICES."
BY GOYA. FROM AN ORIGINAL DRAWING (A PORTRAIT OF THE DUKE
OF WELLINGTON) IN THE BRITISH MUSEUM.
BY FORTUNY. FROM A PEN DRAWING.
BY JOSEPH SATTLER. FROM "THE DAXCE OF DEATH"' (gREVEL).
Illustration in Germany, etc. 75
He looks backward for nothinor but desiofn ; he
looks forward to the perfection of everything.
Following Menzel, and encouraged by " Flie-
gende Blatter," which started in the early forties,
came Wilhelm Dietz, whose studies of armies on
the march, and of peasants at work or at play, are
inimitable. He, too, has been followed by Robert
Haucr and Hermann Luders. Dietz was the main-
stay for years of " Fliegende Blatter," the only
weekly comic paper of which it can be said, that
during the half century of its existence it has been.
not only at the head of its contemporaries, but has
on the artistic side left far behind any pretended
rival.
Germany has for the last half century, too, pos-
sessed a remarkable school of interpretative wood-
engravers : men who have been able to take a large
picture, which they have either drawn on the wood
themselves or had drawn for them, and produce
out of it an excellent rendering, which would print
perfectly in black and white, under the rapid re-
quirements of a steam-press. The work of these
engravers can be seen any week in the " Illus-
trirte Zeitung," " Uber Land und jNIeer," and the
other weeklies. Wood-engraving has been treated
as a serious profession for years in Germany, as a
Professorship of the art was held in the Berlin
Academy before the beginning of this century by
J. F. G. Unger, who died in 1804. Even in
Vienna, a Professorship has been established for
many years. The trouble with German wood-
engravers, however, has been that most of the
work, though signed by the name of one man, is
76 Modern Illustration.
produced really by another. From one of these
engraving shops, that of Braun and Schneider,
issued a year after its estabhshment " FHegende
Blatter," in 1844. Save for Menzel, most of the
work in the middle of the century was of that
heavy, pompous, ponderous sort which we call
German, and, though good in its way, is now well
forgotten. The best-known of all these shops
was that of Richard Brend'amour, who since 1856
has been established in Dusseldorf, thouo-h he has
branches — an artist with branches ! — in Berlin,
Leipzig, Stuttgart, Munich, and Brunswick. Still,
as he seems to have been able to get an extremely
good set of apprentices and workmen, who were
the real artists, a great amount of very interesting
work has been turned out, and cliches from his
excellent blocks have been used all over the world.
One sort of decorative design, developed by
a German, or, I presume, a Pole, Paul Konewka,
though his work, was, I believe, first published
in Copenhagen, is the silhouette ; Konewka has
had imitators everywhere, but none of them have
surpassed him. His edition of "Faust" is one of
the best-known examples. Retche's outline draw-
ings for Shakespeare are also good.
Following the classical tradition of Overbeck
and Kaulbach, but changing it rather into mysti-
cism and decadence through the influence of
Bocklin, and probably the pre-Raphaelites in
England, has been developed a school of mystical
decorators who are unequalled, unappreciated and
curiously unknown outside of their own country.
The chief of these mien is Max Klinger. Like
BY DE NITTIS. PEN DRAWING
FROM "PARIS ILLUSTR:^."
BY W. BUSCH. FROM " BALDUIN BAHLAMM "
(MUNICH, BASSERMANN).
Ilhistration in Germany, etc. 77
his master, Bocklin, and like Schwabe in France,
he brings both his mysticism and his drawing up
to date, and makes no attempt to bolster up faulty
design and incomplete technique by primitiveness,
or quaintness, or archaism. For his illustrations
Klinger usually makes an elaborate series of pen
drawings, and then etches from these. The only
example which I know of in England available
for study is a copy of the Apuleius which is in
South Kensington, and this is not by any means
one of his most successful books, as the etchings
are hard and tight, and the inharmonious decora-
tions which surround the small prints in the text
are crude and unsatisfactory. To know Klinger's
work one must visit the Print Rooms in the
Museums of Berlin and Dresden. Another group
have devoted themselves to lithography. H.
Thoma in this has been probably the most suc-
cessful, but in the exhibition held this year in
Vienna he was closely followed by Otto Greiner,
W. Steinhausen, and Max Dasio. Their work
may be seen in " Neue Lithographem," by Max
Lehers, published in Vienna. Whether there
are tw^o or three men of the name of Franz Stuck
who draw, or whether it is the same Franz Stuck
who produces the mystic arrangements and the
burlesques of them, the decorative vignettes and
the absurd caricatures in " Fliegende Blatter," I do
not know. I only do know that it is all very well
worth study, and very amusing and interesting.
Busch and Oberlander, Meggendorfer, and
Hengler, are names so well known that their mere
mention raises a laugh, and that, if anything, is
78
Modern Illustration.
the mission of those artists : while Harburger's
and Aller's marvellous studies of character, and
Rene Reinecke's exquisite renderings in wash of
fashionable life, marvellously engraved by Stroebel,
can be seen every week printed in the pages of
'' Fliegende Blatter " and other papers. The
works of Hackliinder, published in Stuttgart, have
been illustrated mainly by
process by that clever band
of artists of whom Schlitt-
gen, Albrecht, Marold, Vogel,
and others are so much in
evidence. The German
monthly magazines, like
" Daheim," " Kunst fiir Alle,"
" Felz und Meer," " Die Gra-
phischen Kunste," etc., are
very notable, especially
" Kunst fiir Alle," which
seems to me to be about the
best-conducted art magazine
in the world. Altogether
the arts of illustration and reproduction, and the
business of publishing, in Germany are apparently
in a most healthy condition. It could scarcely be
otherwise, however, when we consider that one of
the greatest illustrators in the world is still alive
and at work there, as well as the most curious
mystics, the most amusing comic draughtsmen,
and the most conscientious and clever realists.
FRt»-M KTCHINC. BV (lOVA
FROM "caprices."
DEATH THE FRIEND.
LINE DRAWING BY RETHEL. REDUCED FROM A WOOD-
ENGRAVING BY H. BURKNER.
»
<
Pi
o
H
H
:3
H
BY FRANZ STUCK. FROM BIERBAUM'S '' FRANZ STUCK," MUNICH
(albert and CO.).
Illitstyatioii in Gernicmy, etc.
Note. — A recent visit to Spain shows me to be quite mis-
taken in this matter. A very fine book has lately been
published in Barcelona by a Seville artist, F. Garcia y Ramos,
" La Tierra di Maria Santissima," and though Senor Garcia
y Ramos is greatly indebted to Fortuny, Rico and Vierge, he
has made a very notable series of designs ; he has also contri-
buted several drawings to a comparatively new Spanish paper,
— " Blanco y Negro " — which has printed very good work by a
group of young men in Madrid, 'he most distinguished of
whom is Sehor Huertas. Another artist on the staff is Jiminez
Lucena ; he is realistically
decorative. The most popu-
lar man in Spain, after the
artists of "La Lidia " (the
organ of the Bull Ring),
is Angel Pons, who, how-
ever, is but an echo of
Caran d'Ache. " La Lidia "
is illustrated entirely by
lithography and in colour ;
the designs, often full of go
and life, are the work of
D. Perea. I find, too, that
the French work of 1830
was seen and known in
Spain, that some books
were produced in the style
of "Paul and Virginia,"
with drawings by Spaniards,
though I imagine they were
all engraved either in Paris,
or by French engravers who went to Spain. The work, however,
is but a reminiscence of the French, and simply curious as show-
ing the power of the Romanticists, but more especially of
Meissonier as an illustrator. The most interesting of these
books is "Spanish Scenes," illustrated by Lameyer, engraved
by G. Fernandez, rather in the manner of Gavarni. But there is
one Spaniard who as an illustrator is unknown, at least to
artists — for he only produced one set of designs for publication
— but who is universally known in almost every other branch
of art, F. Goya. The only widely published and generally
BY GARCIA V
KAMOS. GIPSY
DANCE.
Process block, from pen and wash
drawing.
8o Modern Illustration.
circulated publications, the bank-notes of Spain, are the work
of this artist, and they reflect little credit on him. His etchings
are to be found in all great galleries ; but, interesting as they
are, they give no idea of the amazing drawings in chalk, wash,
and ink, in which mediums they were produced. Even in
Madrid the originals are but little known ; the greater number
are in the Library of the Prado, the National Museum, in-
accessible to the ordinary visitor : but a small selection, un-
described, and not even in the catalogue, are placed upon a
revolving screen in the Room of Drawings; but as this is
almost always closed, most people leave Madrid without even
being aware of the existence of the greatest treasures pos-
sessed by the museum after the Velasquez. On this screen
are the designs for the bull-fights, admirably described by
T. Gautier, in his " Voyage en Espagne," from the literary
artist's point of view, but from the anistic stand-point, they
are quite the most uninteresting of all, and do not in the
slightest express the great passion Goya is said to have always
shown for the noblest sport in the world.
It is rather to the exquisite designs in red chalk for the
" Scenes of Invasion," that one sees him at his best. Here he
is the direct descendant of Callot, only there is a power in his
work that Callot never possessed. It is, I am now certain, from
these designs that Vierge obtained many of his ideas — although
they are worked out in an entirely different fashion. The
drawings for the " Caprices " are in pen and wash, and are as
much finer than the aquatints made from them, as the aquatints
are superior to the caricatures of any of his contemporaries.
As Goya passed, an exile, the latter part of his life in France,
his work must have been known to the men of 1830. He died
in 1828, just as the few lithographs he has left show that he was
aware of the work of Delacroix in that newly invented art.
Still, Goya cannot be called an illustrator, for none of his
work was published as illustration ; yet, at the same time, it is
so well adapted to that end that it is perfectly incomprehensible
that these drawings have not only never been published, but
I am informed they have never even been photographed. The
two that are in this book are from the " Caprices," those of
the "Invasion" are too delicate to stand the necessary
reduction. The portrait of Wellington in red chalk is in the
British Museum.
■-t'.^Sa'Cf ill,?:' /ill'!
mim^
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BY J. W. NORTH. FROM A DRAWING ON THE WOOD
IN THE POSSESSION OF THE AUTHOR.
CHAPTER V.
ENGLISH ILLUSTRATION.
IT is in England alone, that illustration, like
many other things, has been taken seriously.
Ponderous volumes have been written about it,
as well as clever essays. It seemed at first sight
rather unnecessary to repeat what has been said
so well by Mr. Austin Dobson, for example, in
his chapter on modern illustrated books in Mr.
Lang's " Library," especially as he has added a
postscript to the edition of 1892 which is supposed
to bring his essay up to that date. But there are
other ways of looking at the matter, and I have
tried not to repeat what Mr. Dobson has said, nor
yet to trench upon the preserves of Mr. C. G.
Harper and Mr. Hamerton, or Mr. Blackburn.
It appears to me, that before discussing the
I
82
Modern Illustration.
English illustrators of to-day, it might be well to
take a elance at the state of English illustration.
^i- - -^ "^^
Y.\ HUGH THOMSON. FROM "OUR VILLAGE" (MACMILLAN).
English illustration has during the last twent)-
years suffered tremendously from over-writing
English Illustration.
83
and indiscriminate praise and blame. I suppose
that among artists and people of any artistic
appreciation, it is generally admitted by this time
that the greatest bulk of the works of " Phiz,"
Cruikshank, Doyle, and even many of Leech's
BY RANDOLPH CALDECOTT. FROM "THE ELEGY ON A MAD
DOG" (ROUTLEDGE).
designs are simply rubbish, and that the repu-
tation of these men was made by critics whose
names and works are absolutely forgotten, or
else, by Thackeray, Dickens, and Tom Taylor,
whose books they illustrated, and who had abso-
84 Modern Illustration.
lutely no intelligent knowledge of art, their one
idea beinsf to loQf-roll their friends and illustrators.
It is true, however, that some of Doyle's designs,
like those in " Brown, Jones, and Robinson," were
extremely amusing, though too often his rendering
of character was brutal, as. for example, in the
" Dinner at Greenwich " in the " Cornhill " Series.
Technically, there is little to study, even in his
most successful drawings. Leech's fund of humour
was no doubt inexhaustible, but one cannot help
feeling to-day that his work cannot for a moment
be compared to that of Charles Keene. Some of
his best-known designs, the man in a hot bath for
instance, praised by Mr. Dobson may be amusing,
but the subject is quite as horrible as a Middle
Age purgatory. Leech was the successor in this
work of Gillray and Rowlandson, and though his
designs appealed very strongly to the last genera-
tion, they do not equal those of Randolph Caldecott,
done in much the same sort of way. Though
some of the editions containing the engrravinors
from these men's drawings sell for fabulous
prices, on account of their rarity, one may
purchase to-day for almost the price of old paper,
lovely little engravings after Birket Foster, and the
other followers of the Turner school ; while draw-
ings after Sir John Gilbert, and later, Whistler,
Sandys, Boyd Houghton, Keene, Du Maurier,
Small, Shields, and the other men who made
" Once a Week," "Good W^ords," and the "Shilling
Magazine," really the most important art journals
England has ever seen, can be picked up in
many old book-shops for comparatively nothing.
English Illitstratiou.
85
Of the best period of English illustration there
are but few of the really good books that cannot
be purchased for, at the present time, less than
their original price. And only the works of one
painter who did illustrate to any extent, Rossetti,
command an appreciable value. For this, the for-
tunate possessors
of his drawino^s
have to thank Mr.
Ruskin, who, him-
self, is by no
means a poor il-
lustrator. Some
of his work in
" Modern Paint-
ers," " Stones of
Venice," " Exam-
ples of Venetian
Architecture," is
excellent, while his
oriorinal
drawings
BY TURNER. FROM ROGERS'
"ITALY," 1830.
at Oxford are
worth the most
careful study.
Many of Rossetti's designs are, it is true, very
beautiful, and probably others were ; one can see
that from the few which were never engraved. But
the bulk of his drawings are certainly not so good
as those which several people working in London
are producing to-day.
While the magazines I have mentioned were
being published, the " Graphic" was started in 1870,
takinof on its staff m.ost of the foremost artists of
86
Modern Illustration.
the day, Flldes, Holl, Gregory, Houghton, Linton,
Herkomer, Pinwell, Green, Woods, S. P. Hall;
and about the same date Walter Crane made his
far too little known designs for children's books —
" King Luckieboy's Party," the " Baby's Opera,"
the " Baby's Bouquet," and the many others —
which have been not half enough appreciated.
In a measure, the same may be said of Randolph
BY RANDOLPH CALDECOTT. FROM " BRACEBRIDGE HALL "
(MACiMILLAN, 1 877).
Caldecott's books for children, — the " House that
Jack Built," the " Mad Dog," the " John Gilpin,"
which, though they contain his cleverest drawings,
are usually given secondary rank to his " Brace-
bridge Hall " and " Old Christmas," of far less
artistic importance. Miss Kate Greenaway has
been more fortunate : her " Under the Window,"
and the long series that followed, have set the
fashion for children, and have enjoyed a popularity
English I I lustra lion .
87
of which they arc not by any means unworthy.
A trifle mannered and affected, perhaps, her
illustrations are full of refined drawing, charming
colour, and pleasing sentiment. These artists,
in conjunction with Mr. Edmund Evans, gave
BY E. GRISET.
FROM hood's "comic ANNUAL" (187S).
colour-printing for book illustration a standing in
England, while every one of their books is stamped
with a decided English character. A Frenchman,
too, Ernest Griset, living here, made some notable
drawings about this time.
When I commenced this book I have no hesita-
tion in admitting that my knowledge of the really
88 Modern Illustration.
great period of English Illustration was of the
vaguest possible description.
I knew of " Good Words," " Once a Week,"
and the "Shilling Magazine," " Dalziel's Bible
Gallery," and a few other books, but I had never
seen and never even heard of the great mass of
work produced during those ten years ; even now,
I am only slowly beginning to learn about and see .
something of it.
But a day is coming when the books issued
between i860 and 1870, in this country, will be
sought for and treasured up, when the few original
drawings that are still in existence will be striven
for by collectors, as they struggle for Rembrandt's
etchings to-day.
The source from which the English illustrators
of i860 got their inspiration was Adolph Menzel's
books ; pre-Raphaelites and all came under the
influence of this orreat artist. The chanore from
the style of Harvey, Cruikshank, Kenny Meadows,
Leech and S. Read, to Rossetti, Sandys, Hough-
ton, Pinwell, Walker, Millais, was almost as great
as from the characterless steel encrravinof of the
beginning of the century to the vital work of
Bewick. The first English book to appear after
Menzel's work became known, was William Al-
lingham's " The Music Master," 1S55, illustrated
by Arthur Hughes, Rossetti and Millais; the first
book of that period which still lives is Moxon's
edition of Tennyson published in 1857, containing
Rossetti's drawings for "The Palace of Art" and
"Sir Galahad"; Millais' "St. Agnes' Eve," and
Holman Hunt's " Lady of Shalott." These draw-
BV SIR J. E. MILLAIS, BART. WOOD-EXGRAYIXG BY DALZIEL.
FROM "GOOD WORDS" (iSBISTER AND CO.).
English Illustration. 89
ings and a few others have given to the book a
fame, among iUustrated volumes, which it has no
right or claim to.
Far more important and more complete is Sir
John Gilbert's edition of Shakespeare published by
Routledge in three volumes, 1858 to i860. This
edition of Shakespeare has yet, as a whole, to be
surpassed.
In 1859 "Once a Week" was started by
Bradbury and Evans, and the first volume con-
tained illustrations by H. K. Browne {" Phiz "),
G. H. Bennett, W. Harvey, Charles Keene, W.
J. Lawless, John Leech, Sir J. E. INIillais, Sir
John Tenniel, J. Wolf; this is the veritable con-
necting link between the work of the past as
exemplified by Harvey, and of the present by
Keene. The next year, i860, the " Cornhill"
appeared, for the first number of which Thacke-
ray, more or less worked over bv crhosts, and
engravers, did the illustrations to " Lovel the
Widower," but i\Iillais w^as called in for the
second or third number, and then George Sala.
Frederick Sandys illustrated " The Legend of
the Portent," and the volume ends with Ixlillais'
splendid design " Was it not a lie ?" to " Framley
Parsonac^e." It is curious to note that either
Thackeray or the publishers refuse to mention the
names of the artists in any way, only that Millais
and Sala are allowed to sisfn their designs v/ith
their monoorrams. Leiijhton, I imagine, con-
tributed the " Great God Pan " to the second
volume, and Dicky Doyle began his " Bird's Eye
\^iews of Society" in the third, but it is not until
90 Modem Illustration.
one is more than half way through this volume
that the initials F. W. appear on what are sup-
posed to be Thackeray's drawings — or, rather, it
is not until then that the great author acknow-
ledged his failure as an illustrator ; though, in the
" Roundabout Papers," he admitted his indebted-
ness to W^alker.
The first drawing signed by Walker faces p. 556,
" Nurse and Doctor," and illustrates Thackeray's
"Adventures of Philip;" this is in ^lay, 1861.
" Good Words " was also started in i860 ; in it in
1863 jMillais' " Parables" were printed, as well as
work by Holman Hunt, Keene and Walker, while
A. Boyd Houghton, Frederick Sandys, Pinwell,
North, Pettie, Armstead, Graham, and many
others besfan to come to the front in this magfa-
zine and " Once a Week." About 1S65 nearly as
many good illustrated magazines must have been
issued as there are to-day ; not only were the
three I have mentioned continued, but " The
Argosy," " The Sunday Magazine," and " The
Shilling Magazine," among others, printed fine
work by all these artists.
The illustration was done in a curious, but very
interesting sort of way. The entire illustration
began to be undertaken by two firms, Messrs.
Dalziel and Swain — and I believe in the case
of " Good Words" the same system is still carried
on by Mr. Edward Whymper. These firms
commissioned the drawino-s from the artists, and
then engraved them. The method seems to
have been so successful that the engravers, notably
the Dalziels, began not only to employ artists to
BV SIR J. E. MIL.LAIS, BART. WOOD-ENGRAVING BY DALZIEL.
FROM "GOOD words" (ISBISTER AND CO.).
English Illustration. 91
draw for them, and to engrave their designs, but
they became printers as well, and produced that
set of books which are now the admiration and
despair of the intelhgent and artistic collector.
When they were printed, they were sold to a
publisher, who merely put his imprint on them.
To this day they are known as Dalziel's Illustrated
Editions. The first important book of this series
that I have seen is Birket Foster's " Pictures of
English Landscape," 1863 (Routledge), printed
by Dalziel ; with " Pictures in Words," by Tom
Taylor, though this was preceded by a horrid
tinted affair by the same artist, called "Odes and
Sonnets." The binding is vile; the paper is
spotting and losing colour, but the drawings must
have been exquisite, and here and there the ink
is spreading and giving a lovely tone, like an
etching, to the prints on the page.
In 1864 Messrs. Dalziel, who had already en-
graved for "Good Words" in the previous year
Millais' " Parables of Our Lord," published them
through Routledge. This book, in an atrocious
binding described as elaborate, and it truly is,
bound up so badly that it has broken all to pieces,
printed with some text in red and black, contains
much of the finest work Millais ever did. Nothing
could exceed in dramatic power, in effect of light
and shade, " The Enemy sowing Tares," to men-
tion one block among so many that are good. But
the whole book is excellent, and excessively rare
in its -first edition.
But 1865 is the most notable year of all ; in this
" Dalziel's Illustrated Arabian Nights' Entertain-
92 - Modern Illustration.
ments" came out; originally published in parts,
I believe, and later in two volumes, text and pic-
tures within horrid borders. In this book A. Boyd
Houghton first showed what a really great man he
was. He clearly proves himself the English master
of technique, as well as of imagination, although
in this volume, issued by Ward and Lock, he has
as fellow illustrators Sir J. E. Millais, J. D. Wat-
son, Sir John Tenniel, G. J. Pinwell, and Thomas
Dalziel — the latter of whom is a very big man, and
for this, and some of the subsequent books, he
made most remarkable drawings. But Houghton
towers above them all, and Mr, Laurence Housman
in an able article on him in " Bibliographica " well
says :
" Amone artists and those who care at all
deeply for the great things of art, he cannot be
forgotten : for them his work is too much an influ-
ence and a problem. And though officially the
Academy shuts its mouth at him . . . certain of its
leadine liehts have been heard unofficially to
declare that he was the greatest artist who has
appeared in England in black and white. In '65.
also, his "Home Thoughts and Home Scenes"
was published, much less imaginative than his
later work, but containing more beauty ; and after
this, for ten years, he worked prodigiously, and
yet excellently. His edition of "Don Quixote"
(F. Warne and Co.), must be sought for in the
most out-of-the-way places ; easier to find are his
" Kuloff 's Fables," '69 (Strahan), and best known
of all, the drawings in the early numbers of the
"Graphic," — the American series — which were not
BY A. BOYD HOUGHTON. FROM DALZIEL'S "ARABIAN NIGHTS'
(WARD, LOCK AND CO.), 1 865.
K
BY G. J. PINWELL. FOR "GOLDSMITH'S WORKS" (WARD, LOCK
AND CO.). PROCESS BLOCK FROM THE ORIGINAL
DRAWING ON THE WOOD IN SOUTH
KENSINGTON MUSEUM.
Efiglish Illusfyation. 93
all published, I think, before he died. If some of
these are grotesque, even almost caricature, they
are amazingly powerful — and being the largest en-
graved works left, show him fortunately at his best.
His original drawings scarce exist at all. I happen
to have one of the most beautiful, " Tom the Piper's
Son," from Novello's "National Nursery Rhymes,"
1871. I have not pretended to give a list of
Houghton's drawings, it would be nearly impos-
sible ; but those books and magazines I have men-
tioned contain many of the most important. In
'65 Pinwell did a " Goldsmith " for Ward and Lock,
which revealed his surprising powers.
Cassells may have been the originators of this
sort of illustrated book, or only the followers of a
style which became immensely popular. They
issued many works by Dore about the same time
or later, and a " Gulliver," by T. ^Morten, among
others, but as this volume is not dated, I am
unable to say when it appeared — still to this day
they keep up the system of publishing illustrated
books in parts at a low rate. But soon expensive
gift books, illustrated by Houghton, Pinwell, North,
and Walker, began to appear, perfectly new un-
published works: in 1866 "A Round of Days"
was issued by Routledge ; Walker, North, Pinwell,
and T. Dalziel, come off best in this ororeeous
morocco covered volume, especially the last, who
contributes a notable nocturne, the beauty of night,
discovered by Whistler, being appreciated by
artists, even while Ruskin was busy reviling or
iornorino- these illustrators. Houo^hton's edition of
" Don Quixote" also belongs to this year. How
94 Modern Illustration.
these men accomplished all this masterly work
in such a short time, I do not pretend to under-
stand.
In 1867, "Wayside Posies," and "Jean Ingelow s
Poems " were published by Routledge and
Lonofmans. These two books reach the hig-h-
water mark of English illustration, North and
Pinwell surpass themselves, the one in landscape
and the other in figures. T. Dalziel also did some
amazing studies of mist, rain, and night, which I
imagine were absolutely unnoticed by the critics.
The drawings, however, must have been popular,
for Smith and Elder reprinted the Walkers and
Millais', among others, from the " Cornhill " in a
" Gallery "{this also included Leightons and, I think,
one Sandys), and Strahan the Millais drawings in
another portfolio. The "Cornhill Gallery," printed,
it is said, from the original blocks, came out in
1864, possibly as an atonement for the shabby way
in which the artists were treated in the mao^azine
originally.
In 1868, "The North Coast," by Robert Bu-
chanan, was issued by Routledge ; it has much
good work by Houghton hidden away in it. In
the next year the " Graphic " started, and these
books virtually ceased to appear — why, I know
not. There were some spasmodic efforts, most
notable of which were Wliymper's magnificent
"Scrambles amongst the A-lps," 1871, contain-
ing T. Mahoney's best drawings and Whymper's
best engraving; and "Historical and Legendary
Ballads," Chatto and Windus, 1S76; in this book,
made up from the early numbers of the magazines,
BY G. J. PINWELL. FOR "GOLDSMITH'S \VORKS" (WARD, LOCK
AND CO.). PROCESS BLOCK: FROM THE ORIGINAL
DR.VWIXG ON THE WOOD IN SOUTH
KENSINGTON MUSKl'M.
■l^'
'^
'""^
'~<^<it.a?^
BY FRED. WALKER. PROCESS BLOCK FROM AN ORIGINAL
STUDY IN THE POSSESSION OF THE AUTHOR.
English Illustyation. 95
one will find Whistler's and Sandys' rare draw-
ings ; it is almost the only volume which contains
these men's work, although the drawings were
not done originally for it, as the editor would like
one to believe.
Whistler, it is true, illustrated a " Catalogue of
Blue and White Nankin Porcelain," published by
Ellis and White, 1878, a very interesting work,
mainly in colours. But Sandys' drawings must
be looked for in the magazines alone. I know of
no book that he ever illustrated, a few volumes
contain one or two, that is all ; his drawings are
separate distinct works of art, every print from
them worthy of the portfolio of the collector.
Dalziels issued at least two books later on. mag-
nificent India proofs of "English Rustic Pictures,"
printed from the original blocks by Pinwell and
Walker, done for the books I have mentioned, this
volume is undated ; and their Bible Gallery in
1 88 1 (the drawings were made long before), to which
all the best-known artists contributed, though the
result was not altogether an artistic success ; but
most notable drawings by Ford Madox-Brown,
Leighton, Sandys, Poynter, Burne-Jones, S.
Solomon, Houghton, and T. Dalziel, are included
in it.
This is the last great book illustrated by a band
of artists and engravers working together in this
country ; whether the results are satisfactory or not,
the fact remains that the engravers were most
enthusiastic, and encouraged the artists as no one
has done since in the makin^ of books ; and the
artists were the most distinguished that have ever
96 Modern Illustratio7i.
appeared in England. Possibly, I should also
have referred to the " British Workman," which
was probably the first penny paper to publish
good work of a large size. And I may have
treated Mr. Arthur Hughes in a rather summary
fashion. But I kno\v his oricrinal drawinas far
better than the books in which they were printed ;
the only book which I really am acquainted with
is " Tom Brown's School Days ;" yet I know that
he has made a very large number of illustrations,
especially for Norman MacLeod's books among
others. After twenty-five years illustration is
aeain revivino; in Eno-land, and one looks forward
hopefully to the future of this branch of art.
Ten years later than the " Graphic " came the
introduction of process, and process was employed
in England mainly for one reason only : cheap-
ness. Bad cheap process — which by the way is
very little worse than cheap wood-engraving — has
been responsible in this country for more vile
work than in all the rest of the world put together.
The development of process has brought with it
not only truth of reproduction, which is its aim,
but evils which its inventors did not anticipate.
Too many process-engravers encourage the most
commonplace, because it is the easiest, work.
They know perfectly well that mechanical en-
graving will reproduce almost any drawings at the
present moment, but then, good reproduction
demands time and trouble and artistic intelligence.
But it is no wonder that process-engravers are
indifferent, wdien we remember the lamentable
ignorance displayed by some editors, whose know-
E)igUsli Illitstration. 97
ledge of art — in fact, of all art work — is simply nil.
They may have piles of taste, but all of it is bad.
They know exactly what the public wants, for
they themselves are the public they consider.
The slightest attempt at the artistic rendering of
a drawing, or the appearance of a new man with
a new style, is enough to put them in a rage,
because they cannot understand the one or the
other. And the selection of " cuts which em-
bellish " — I believe is the expression — their pages,
is left to the process man, the photographer,
and the cliche aorent, who of course pick out the
easiest they can supply. Their other duty is to
edit their contributors, that is, if screwing and
jewing an artist, and taking all life and soul for
work out of him, can be described as editing.
Lately has sprung up a species of illustrator
who licks the boots of these editors and grovels
before the process man. He turns out as much
work as he can in the shortest space of time,
knowing that he must make as many drawings as
possible before some miserable creature, more
contemptible than himself, comes along with an
offer to do the work at half the price which he is
paid.
I am happy to say that this state of affairs is by-
no means universal in England ; but I regret that
there seems to be a tendency in some quarters to
prefer bad work because it is usually cheap. On
the other hand, there are many notable exceptions :
intelligent publishers, editors, artists, and process-
engravers, who strive to do good work and expect
to pay, or be paid, for it. But this state of things
98 Modern Illustration.
has produced three classes of artists. First, the
men who loudly declare they care nothing about
their work, and who may therefore be dismissed
with that contempt which they court. Second,
those who rush absolutely to the other extreme,
saying that all modern work is bad, and that there
is nothing to do but to follow in the track of the
fifteenth-century craftsman, not knowing, or more
probably not wanting to know, that these same
illustrators and engravers of the fifteenth century
were, according to their time, as modern and up-
to-date -d^xAJin-de-siccle as possible. Finally, there
is a saving remnant, increasing as fast as good
workmen do increase — and that is very slowly —
who are going on, endeavouring to perfect them-
selves to the best of their ability, believing rightly
that it is the business of engravers and printers to
follow the artist, and not the artist's duty to
become a slave to a mere mechanic, no matter
how intelligent. The second of these classes has
always existed in almost every profession in Eng-
land ; the class, in short, which is convinced that
society and the world generally needs reforming,
and that it is their little fad which is oroino" to brino-
about this reformation.
Now I do not hold for a moment that the man
who is generally accepted as the leader of the pre-
Raphaelite movement, Rossetti, had any desire to
reform anybody, or improve anything. A certain
form of art interested him, and he succeeded in
reviving it for himself, though he put himself and
his century into his drawings. It is the same with
Sir Edward Burne-Jones, and Mr. William Morris,
BV FREDERICK SHIELDS. FROM DEFOE'S "HISTORY OF
THE PLAGUE"' (LONGMANS, 1863).
E}iglish Illustratiou. 99
and Mr. Walter Crane. But the praise which lias
been duly bestowed upon them has been unjustly
lavished upon a set of people — or else, the)', as
they never weary of doino-, have exploited them-
selves—who have neither the power to design nor
the intelligence to appreciate a drawing when it is
made, nor any technical understanding of how it
was made. They will tell you. both by their work
and in print, that there is nothing worth bothering
about save the drawings of the Little Masters,
and, to prove their appreciation of these drawings,
they proceed at once not to copy the drawings,
but the primitive w^oodcuts which were made out
of them, not by the Masters at all. They will
proceed to imitate painfully with pen and ink a
woodcut, have it reproduced by a cheap process
man, who, of course, is delighted to have work
which gives him no trouble, entrust it to a printer
buried in cellars into which the light of improve-
ment has never made its wa)', that he may print
it upon handmade paper, which the old men never
would have used had they had anything better ;
and thus they succeed in perpetuating all the old
faults and defects, adding to them absurdity of
design which triumphs in the provinces, is the
delight of Boston and the Western States of
America, and the beloved of the Vicarage. Or,
again, the young person, reeking with the School
of Science and Art at South Kensington, will
have none of process, and, painfully (for he
usually cuts his finger), and simply (otherwise he
should waste his time), endeavours, with halting
execution but with perfect belief in his powers,
loo Modern Illustration.
to cut his design upon the wood-block, not know-
ing that the master woodcutter, whom he essays
to worship, spent almost as many years in learning
his trade, as this person has spent minutes in
knocking" off a little illustration as a chancre from
desisfninof a stained-orlass window, or writinof a
sonnet. This is the sort of work that exhausts
first editions, is remembered for a few months,
and produces leaders in the advanced organs of
opinion. It is unfortunately true that the leaders
have little influence, and that, later on, the first
editions may be bought as old paper.
Ignorance of printing and of the improvements
in that art is really in this country too awful to
contemplate. The average critic will blame a
competent artist for the imperfections of a process
and the ignorance of a printer. It never occurs
to this critic that he knows nothing practically
about the subject. No attempt is made to sur-
mount mechanical difficulties ; no attempt is made
to study improvements ; one is simply told to
work down to the lowest level and to copy the
fads of an obsolete past.
Quaintness and eccentricity, too, have their fol-
lowers, and though both are dangerous games to
play, still they imply, if good, such an amount of
research, study, and invention, whether original
or not, that from them good work may often
come. Still I no longer dare to prophesy. I
know not what a man will do or will not. There
is possibility in every one.
As for the other men who calmly go on doing
their work in their own way, showing the process-
BY J. MAHONEV. FROM THE "SUNDAY MAGAZINE.
English Illustration. loi
engraver what is wanted, instructing the printer
on the subject of effects and colour, and deal-
ing satisfactorily with intelligent publishers and
editors, or even, as some do, ignoring all these
factors, which they should not, their work is around
us and delights us.
Of the older men, though Whistler haslongceased
to illustrate, Du Maurier, Sidney Hall and William
Small are still with us, producing characteristic
designs. Charles Green carries on the excellent
method which he developed in his illustrations
to Dickens. Though J. Mahoney is dead, the
present re-issue of Why mper's "Scrambles amongst
the Alps " testifies marvellously to his powers.
The late A. Boyd Houghton's abilities, too, are
beginning to be appreciated, and his designs for
the "Arabian Nights" are now beino- souo"ht for
as they never were during his lifetime. The
success of Messrs. Macmillan's re-issue of the
"Tennyson" of 1857 is gratifying proof that a
large number of people do care for good work,
and that the endeavour to swamp us with poor
drawings, tedious photographs, and worn-out clichSs
will probably have its just reward. F. Sandys,
one of the greatest of all, though still living,
scarcely produces anything ; F. Shields' designs
for Defoe's " Plague " were Rembrandt-like in
power; while H. Herkomer, in his illustrations to
Hardy's " Tess of the D'Urbervilles," has, within
the last few years, done some of his most striking
work. Linley Sambourne, whose name was made
years ago, pursues the even tenor of his ways,
his reputation having been well secured by his
102
Modern Illustration.
illustrations to the "Water Babies," and his count-
less " Punch " contributions. From the quantity
of work produced by Harry Furniss it is quite
evident that he is one of the most popular men
in Enofland. The fund of imao"ination which he
devotes to perpetuating the unimportant actions
of trivial members of Parliament is truly amazing.
J. F. Sullivan has made caricature of the British
workman his speciality, and he has recorded many
of the antics of that personality with a truth that
BY LIXLEY SAMBOURNE. FROM KINGSLEY'S "WATER BABIES"
(macmillan).
the labour organs miofht imitate to advantagfe.
Sir John Tenniel is the legitimate successor of
the old political cartoonist, but, luckily for him, his
reputation rests, not upon his portrayal of the
events of the moment, but upon his marvellous
" Alice in Wonderland " and his classic illustra-
tions to the " Legendary Ballads." Political cari-
cature rarely, however, has an exponent like
Tenniel, and though the work of J. Proctor, G. R.
Halkett, and F. C. Gould is good in its way,
owing to the conditions under which much of it
has to be produced, and the absolute artlessness
BY (sir) JOHN TEXXIEL. ENGRAVED ON WOOD BY H, HARRAL. FROM
GATTYS "parables" (hELL, 1867).
^\ =.
BY G. DU MAURIER. FROM " TRILBY " (OSGOOD,
MclLVAINE AND CO.).
English Illnstyation.
103
of the subject, their aim naturally is to drive home
a political point, and not to produce a work of art.
The most genuine caricaturist who has ever lived in
England was W. G. Baxter, the inventor of "Ally
Sloper." Baxter died a
few
years ago. Hap-
the three men
who,
in a orreat mea-
BY G. DU MAURIER. FROM " TRILBY" (OSGOOD,
McILVAINE AND CO.).
sure, are responsible for modern English illustration
are working to-day: Birket Foster, Sir John Gil-
bert, and Harrison Weir, but, save the latter,
they now produce scarcely any designs. Few of
the brilliant band who succeeded them, however,
are at work save Du Maurier and W. Small.
I04 Modern Illustration.
One has to deplore the recent death of Charles
Keene, the greatest of all English draughtsmen.
One therefore turns with interest to some of
the younger men — men who have made and are
making illustration their profession. Among them,
one looks first to that erratic genius, Phil May,
who has produced work which not only will live,
but which successfully runs the gamut of all wit
and humour. Nothing in its way has been done
in England to approach his designs for the " Parson
and the Painter." They appeared first in the
pages of the ''St. Stephen's Review," where they
were scarcely seen by artists. But on their re-
appearance in book form, though even more
badly printed than at first, what remained of them
was good enough to make May's reputation.
Between him and everyone else, there is a great
gulf fixed, but the greatest is between May and
his imitators.
Most of the younger men of individuality have
studied abroad and, like Americans, have returned
home more or less afi^ected by continental ideas.
It would be quite impossible for me to place any
estimate on their work, or even attempt to describe
it. But certainly it is to some of the new^ weekly
and daily journals and less known monthlies that
one must look for their illustrations. It seems to
me that E. J. Sullivan, A. S. Hartrick, T. S.
Crowther, H.R. Millar, F. Pegram, L. Raven-Hill,
W.W. Russell are doing much to brighten the pages
of the papers to which they contribute. Raven- Hill,
Maurice Greiffenhaofen, Edear Wilson and Oscar
Eckhardt have made a most interesting experiment
j0^^
t i-
BY W. SMALL. FROM " CASSELL S MAGAZINE.
by r. anning bell. from an original
pp:n drawing.
English Illustration. 105
in '' The Butterfly," which I hope will have the
success it deserves.' R. Aiming Bell, Aubrey
Beardsley, Reginald Savage, Charles Ricketts,
C. H. Shannon and L. Pissarro have the courage
of their convictions and the ability often to carry
out their ideas. Beardsley, in his edition of the
" Morte d'Arthur," " Salome," and his " Yellow
Book " pictures, among other things, has acquired
a reputation in a very short space of time.
R. Anning Bell has become known by his very
delightful book-plates, while Ricketts, Shannon and
Pissarro, are not only their own artists and engravers,
but editors and publishers as well. " The Dial " is
their organ, and it has contained very many beau-
tiful drawings by them, though they have contri-
buted covers and title-pages to various books and
magazines, and have brought out an edition of
" Daphnis and Chloe " which must serve to per-
petuate the imperfections of the Middle- Age wood-
cutter. Wal Paget. \V. H. Hatherell, and G. L.
Seymour, in very different ways, head a long list
of illustrators who can decorate a story with dis-
tinction, or depict an event almost at a moment's
notice. In facility, I suppose there is no one to
equal Herbert Railton, unless itbe Hugh Thomson.
They have together illustrated "Coaching Days
and Coaching Ways." Railton must have drawn
almost all the cathedrals and historic houses in the
country ; and Thomson is in a fair way to resurrect
many forgotten and unforgotten authors of the last
century. J. D. Batten's illustrations to Celtic,
^ I did not mean I hoped it would die. It has now ceased
to appear.
io6 Modem Illustyation.
English, and Indian fairy tales are extremely
interesting, -while Launcelot Speed and H.J, Ford
have for several years been making designs for
Mr. Lang's series of fairy books. Laurence
Housman has this year scored a decided success
with his illustrations for Miss Rossetti's " Goblin
Market." To Bernard Partridore has fallen of late
the task of upholding " Punch " from its artistic
end ; this has apparently proved too much even
for him, since I note that for the first time in its
existence that paper is employing outsiders and
even foreigners. To what is EnQ^land, or rather
" Punch," coming ? His drawings for ]Mr. Anstey's
sketches have been deservedly well received, while
lately he, too, has fallen a victim to the eighteenth
century in his striking illustrations for Mr. Austin
Dobson's " Beau Brocade." Mr. E. T. Reed, of the
same journal, during the last year has developed
not only a most delightful vein of humour, but an
original style of handling — his burlesques of the
decadents are better than the originals almost.
Reginald Cleaver can probably produce a drawing
for a cheap process with more success than anyone,
and yet, at the same time, his work is full of
character. It is pleasant to turn to men like Sir
George Reid and Alfred Parsons, with whom ex-
quisite design and skilled technique, and not cheap-
ness, is the aim in their illustrative work. Par-
sons has, with Abbey, in "Old Songs," "A Quiet
Life," etc., and alone in Wordsworth's "Sonnets,"
and also in the " Warwickshire Avon," produced
the books which reach the hi^h-water mark of
English illustration, although they were first pub-
BY J. BERNARD PARTRIDGE. FROM AUSTIN DOBSON'S "PROVERBS
IN PORCELAIN" (KEGAN PAUL AND CO.).
M
BY HOLMAN HUNT. FROM GATTV'S "PARABLES''" (BELL, 1S67).
HIGH STREET
EVESHAM ^EB
BV K. H. NEW. FROM A PP:X DRAWIXC. FOR "THE QUEbT,"^ NO. 3.
^i--?^'ai^;Pm-WE. ■ ARE • THE • ROVERS r^S:^^^\
by winifred smith. from " children s singing games'
(nutt).
English Illitstnition.
107
lished in America. On the other hand Sir
George Reid's designs for " Johnny Gibb," " The
River Tweed and the River Clyde," and several
BY ALFRED PARSONS. FROM THE "ENGLISH
ILLUSTRATED MAGAZINE."
Other publications of David Douglas of Edinburgh,
have been brought out altogether in this country.
I should like to discuss the schools that have
been developed by the Arts and Crafts Society in
io8 Modern Illustration.
some of the provincial centres. But as none of
the students approach for a moment such an exqui-
site draughtsman as Sandys, to say nothing of the
work of the older men whom they attempt to imi-
tate, it seems rather premature to talk about them.
Still, A. J. Gaskin, limiting himself in a way
that seems quite unnecessary, has illustrated
Andersen's " Fairy Tales " very well, if one adopts
his standpoint. E. H. New has made portraits
that are decorative ; and, under Gaskin's direction,
a little book of " Carols" has been illustrated by
his pupils ; while, in the same style, C. M. Gere
and L. F. jNIuckley are doing notable work, and
they are about to start a magazine " The Quest."
The " Hobby Horse," the organ of the Century
Guild, has contained many good designs by Her-
bert Home and Selwyn Image. On much the
same lines, too. Hey wood Sumner, Henry Ryland,
Reginald Hall ward, Christopher Whall and others
have been very successful. Nor can one ignore
the initials and borders of William jNI orris, made
for his own publications.
There are dozens of artists, whose names, like
their works, are household words, Forrestier,
Montbard, W. L. Wyllie, Barnard, Nash, Overend,
Wollen, Staniland, Caton Woodville, Durand,
Stacey, Rainey, Barnes, and Walter Wilson, who
have a power of rendering events of the day in a
fashion unequalled elsewhere, and whose excellent
designs are seen continuously in the pages of the
" Graphic," the " Illustrated London News," and
" Black and White." There is also another set
who amaze us by their power of compelling editors
o
<
Q
W .
iJ "
Six!
« ►J
9 <->
fa ^
o
w a
^"
Q >
Q
en M
BV SIR GEORGE REID. FROM "THE LIFE OF A SCOTCH
NATURALIST" (MURRAY).
{.^c^fe ^jj/r/i^^
liY W. PAGtT. FROM " CASSELL S MAGAZINE.
English Ilhtstration. 109
to publish weekly, and even daily, stacks of their
drawino[-s, when those of better men otq a-beofcrincr.
Though wood-engraving is purely an English
art, and though some of the greatest wood-
engravers even in modern times have been Eng-
lishmen, the art no lonofer flourishes here as it
should. The strongest of modern engravers, Cole
and Linton, are both Englishmen, but their repu-
tations are due chiefly to America. W. Biscombe
Gardner is almost the only man who has continued
to produce good interpretative work, engraving his
own designs, while \V. H. Hooper easily leads in
facsimile work. This decline of wood-engraving
has been especially felt by such important firms as
Dalziel and Swain. An International Society of
Wood-engravers has lately been started, and one
hopes its members will succeed in the task they
have set themselves : that of encouraorincr oris^inal
wood-engraving. In colour-printing England has
always held a leading place, the work of Edmund
Evans and the Leio^hton Brothers beinor univer-
sally appreciated. A very strong endeavour is
being made by Messrs. Way to revive original
lithography. As this art is now beginning to be
again practised by eminent artists, there is every
probability that their eftorts will be successful.
" Vanity Fair " has always been illustrated by
chromo-lithography, and in it appeared the work
of the late Carlo Perugini, while " Spy " and others
still carry out his methods. The architectural
papers also use, mainly, photo-lithography for re-
producing the drawings which they print. In
England the fashion of making pictorial per-
no
Modem Illustration.
spective drawings for architects has been very
extensively practised ; it is only an outgrowth of
BY L. RAVEN-HILL. FROM " THE BUTTERFLY."
the work of Prout and Harding, but it has been
enormously developed since their day ; at present,
BY L. RAVEN-HILL. FROM " THE BUTTERFLY."
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English Illustration. 1 1 1
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several architectural papers are published which
solely contain drawings of this sort, drawings
mainly the outcome of the T-square, and the
inner consciousness of the architectural perspective
man, who has never seen the house, nor the land-
scape, nor street elevation in which his subject may
be ultimately built ; nevertheless some of these
drawings are most interesting. The work of
the late W. Burgess, A.R.A., of A. B. Pite, in
mediaeval design ; of G. C. Horsley, A. B. Mitchell,
T. Raffles Davison, Rowland Paul, and, above all,
of C. E. Mallows. Mr. Mallows is an artist ; to
him a drawing is as important as the building
it represents ; he does everything he can from
nature, and his drawings of old work, notably diffi-
cult studies in perspective, like the cloisters of
Gloucester, have never been equalled by any of
the Prout-Hardinor-Cotman set. He feels that
architecture and the delineation of it are a part of
the fine arts — and he makes others feel it too. And
to do this is simply to be an artist. This fashion
of architectural drawing has spread to America
and Germany, but it has no support in France.
Much has also been accomplished in etching,
and England possesses to-day in William Hole,
Robert Macbeth, William Strang, Frank Short,
D Y. Cameron, C. J. Watson, C. O. Murray, a
number of etchers whose fame is justly great.
Whether the idea of the "special artist on the
spot" originated in England or not, I cannot say ;
certainly he was employed, and his work acknow-
ledged in the early numbers of the " Illustrated
London News." But, at any rate, many English-
N
1 1 2 Modern Ilhistration.
men have devoted themselves ahnost entirely V
to this form of pictorial reporting and corre-
spondence. The man who has had probably the
most extensive experience is William Simpson, of
the " Illustrated London News," ^ but F. Villiers,
Melton Prior, and Sidney Hall have assisted at
almost all the scenes of national joy or grief —
have followed the fortunes of war, or the progress
of royalty, or any other important event in every
quarter of the world. These artists' methods of
work were most interesting. They trained them-
selves to sketch under the most dangerous,
fatiguing, and difficult conditions — making rather
shorthand notes than sketches, which were quite
intelligible to a clever band of artists attached to
their various journals. These artists, on receiving
the sketches, produced finished drawings in a few
hours, or, at longest, a few days. Now, however,
matters have changed somewhat. The editors
(not the public) have learned to appreciate sketches,
and men who can either produce a complete w^ork
of art on the spot, or work from their own sketches,
are more generally engaged in this way. I do
not mean to say that the war correspondents I
have named could not do this work, only that often
they did not, owing to exigencies of time and
other difficulties. Mr. Hall's work at present is
finished on the spot. His drawings at the Parnell
trial were most notable. But I think in the next
artistic generation the correspondent will have to
work harder — if he produces less.
^ S. Read was the first artist correspondent; he worked
during the Crimean War.
BY R. CATOX WOODVILLE. REDUCED FROM •■ iWE ILILSTRATED
LONDON NEWS."
BY AUBREY BEARDSI.EY. FROM A DRA\V1NG IN
THE POSSEbSIOX OF THE AUTHOR.
BY WALTER WILSON. REDUCED FROM "iHE ILLUSTRATED
LONDON NEWS."
Jl^oavEHjX
BY F. S. CHURCH. FROM AN ETCHING IN "THE CONTINENT.'
CHAPTER VI,
AMERICAN ILLUSTRATION.
IN many ways the illustrative work of America
is more interesting than that of any other
country. The rapidity of its growth, the en-
couragement that has been given it by publishers,
and the surprisingly important artistic results ob-
tained have won it reco2:nition all over the world.
Twenty-five years ago, at the time that the best
work w^as really being done in England, scarcely
anything was being produced in America. It is
true that some of the magazines had been started,
and that some of the men, who are best known as
illustrators to-day, were at work. But it was not
until 1876, the year of the Centennial, the first
international exhibition held in America, that
American artists, engravers, printers, and pub-
lishers were enabled to form an idea of what was
being done in Europe. At the same time a bril-
liant band of young men, who had been studying
1 1 4 Modern Illustration.
abroad, returned to New York, and it is mainly
owine to their return, and the encouracrement
which intelHgent and far-seeing" pubhshers gave to
them, and also to the artists and engravers who
Avere already in America anxious to work, that
what is now known as the American school of
wood-eneravino- tOQ^ether with American illustra-
tion and printing, was developed.
The way in which this school has been built up
is so interesting that it may be well to refer to it
somewhat in detail. From the time that Mr. A.
W. Drake, and, later, Mr. W. Lewis Fraser were
appointed art editors of the " Century," then
" Scribner's," they made it their business, as art
editors, to assist and aid and encourage young
artists. And earlier, too, Mr. Charles Parsons
who managed the art department of Harper
Brothers, gave such kind, sensible, and practical
advice to many young artists that not only will
his name never be forgotten as one who helped
greatly to develop American art, but many an
American illustrator now looks back to Mr.
Parsons as the man who really started him on his
career.
Mr. Drake's plan was this. If an artist brought
a drawing to him in which there were any signs of
individuality, intelligence, or striving after untried
effects, his endeavour was to use that drawing,
at any rate as an experiment, and to encourage
the artist to go on and make others ; not to say
to the artist, "the public won't stand this, and
our clientele won't know what you mean." But
then Mr. Drake was a trained artist and en-
American Illustration. 115
graver.^ Nor did Mr. Drake and Mr. P>aser put
down their opinions as those of the public. They
did not pretend to be infalhble, nor did the Hterary
editors ; with the consequence, that the American
macrazines have ^rained for themselves the largest
circulation among respectable publications. In
engraving, too, the engraver was asked to reproduce
a drawing, not in the conventional manner, but as
faithfully as he could, not only rendering the subject
of the drawing, but suggesting its quality, the look
of the medium in which it was produced. From
this sprang the so-called American school oi fac-
simile wood-engraving, which, until the advent of
process, was the favourite cockshy of the literary
critic who essayed to write upon the subject of
art. Now, however, that he believes American
engraving is about to disappear in process —
thouQrh of course there is not the slightest dansfer
of anything of the sort happening — he is uttering
premature wails over its disappearance, which is
really not coming to pass at all.
In printing, too, experiments were made from
the very beginning with inks and paper and press-
work. And though stiff glazed paper has been
the outcome of these experiments, it is used
simply because upon no other sort of paper can
such good results be obtained. If some of the
people who raise such a wail about this paper
' I do not mean to say that the American idea of having
artists for art editors is unique. Everyone knows the good
editorial work that has been done, and is still being done
by Mr. Bale, Mr. W. L. Thomas, Mr. Thomson, Mr. Mason
Jackson, Mr. L. Raven-Hill, to mention no others.
ii6 Modern Illustration.
would only produce something better, I am sure
they would be well rewarded for their pains,
because all the great magazines would at once
adopt it.
Another reason for the success and advance-
ment of American illustrators is because the pub-
lishers of the great magazines, like " The Century,"
"Harper's," " Scribner's," have had the sense to
see that if you want to get good work out of a
man you have to pay him for it and encourage him
to do it, then reproduce, and print it in a proper
fashion. Naturally, the artists have taken a per-
sonal pride in the success of the magazines with
which they have been connected ; in certain cases,
greater probably than the proprietors themselves
ever realized. They have worked with engravers ;
they have mastered the mysteries of process and
of printing ; various engravers and printers have
also worked with the artist, and in many cases
there has been a truer system of genuine crafts-
manship than existed in the everlastingly be-
lauded oruilds of the Middle Aees.
Within the last few years a new spirit has, to a
certain extent, entered into American publishing,
and there have cropped up magazines which, ap-
parently, have for their aim the furnishing to their
readers of the greatest amount of the cheapest
material at the lowest possible price. Syndicate
stories and photographic clichds struggle with bad
printing, and possibly appeal to the multitude.
However, these cheap and nasty journals will
probably struggle among themselves to their own
discomfiture, without producing lasting effect,
American Illustration. 117
unless the conductors of the better class of maga-
zines choose to lower the tone of their own
publications.
The illustrated newspaper has become an
enormous factor in America. The " Pall Mall "
claims to have been the first illustrated daily, and
the " Daily Graphic " is the only complete daily
illustrated paper yet in existence in England. " Le
Ouotidien Illustre" has just been started in Paris.
The claim of the " Pall Mall " is without foundation,
as the London " Daily Graphic " but follows in
the footsteps of the New York " Daily Graphic,"
which took its name from the London weekly ;
its illustrations \vere almost altogether reproduced
by lithography. The New York " Graphic" was
never a great success. Many American daily
newspapers print more drawings in a week than
the London " Daily Graphic." The chances are
that in a very few years the daily will have com-
pletely superseded many of the weeklies, and quite
a number of the monthly magazines too. It is
simply a question of improving the printing press,
and this improvement will be made. Anyone who
has watched the progress of illustrated journalism
during the last ten years can have no doubts upon
the subject ; and I am almost certain that the
very near future will see the advent of daily
illustrated magazines of convenient size, which
will take the place of the monthly reviews and
the ponderous and cumbersome machine we now
call a newspaper.
If, as is universally admitted, America has pro-
duced the best example of an illustrated magazine
ii8
Modern Ilhtstration.
that the world has to show, it is not very difficult
to find out the reason. Editors have secured the
^^..-^4m^-
O he was awonder,
and no£hin^ Jefs .'*
ip
by howard pvle. from holmes's "one hoss shay"
(gay and bird).
services of some of the best native artists, and are
ready to use the work of foreigners. Also many of
BY HOWARD PYLE. FROM "THE CENTURY MAGAZINE.
I20
Modern Illustration.
the best engravers work for these periodicals, and in
machine printing Theodore de Vinne has set up a
i\ckai/e breaks Jown
but doefnt wear o ut ."
BY HOWARD PYLE. FROM HOLMES'S " ONE HOSS SHAY "
(GAY AND bird).
standard for the whole world. If these men have
become master craftsmen, it is because they first
122
Modern Illustration.
studied their art profoundly, and then learned the
practical requirements and technical conditions
BY A. B. FROST. FROM " STUFF AND NONSENSE '"' (SCRIBNER'S).
under which drawings can best be reproduced for
the printed page, as well as the best methods of
printing that page. J
A merican Illustration .
123
In his own way Mr. Abbey stands completely
apart from all other artists. His beautiful draw-
BY A. B. FROST. FROM " STUFF AND NONSENSE " (SCRIBNER'S).
ing, conscientious attention to detail and costume,
interesting composition and perfect grace give
him rank as a master. His edition of Herrick has
124 Modern Ilhtstration.
become a classic, while in his "Old Songs," and
" Quiet Life," done in collaboration with Mr.
Parsons, he has so successfully delineated the
eighteenth century that he has made it a mine for
less able men who have neither his power as
draughtsman, nor his appreciation that illustration
is as serious as any other branch of art, not to be
entered upon lightly and without training. He
has transformed " She Stoops to Conquer " from
a play into a series of pictures ; and his illustra-
tions to Shakespeare will, without doubt, become
historic ; they are models of accurate learning and
careful research, and yet, at the same time, the
most perfect expression of beauty and refinement.
The decorative or decadent craze has also reached
America, and its most amusing representative, so
far, is W. H. Bradley ; but G. W. Edwards, L. S.
Ispen, and others, decorated books long before
mysticism became the rage.
Mr. Reinhart and Mr. S medley have treated the
more modern side of life with an intelligence which
is almost equal to Abbey's. Mr. Reinhart's most
remarkable work is to be found in " Spanish Vistas "
by Mr. George Parsons Lathrop, and in his sketches
in "American Watering Places." Mr. Smedley's
drawings may be seen any month in " Harper's
Maei'azine."
Mr. Howard Pyle has brought all the resources
of the past to aid him in the present, and is probably
the most intelligent and able student of the fifteenth
century living to-day. Yet Mr. Pyle is, when
illustrating a modern subject, as entirely modern.
He has treated with equal success the England of
BV E. A. ABBEY. FROM " HARPER'S MAG
PVRKiHT 1894, liV HARPER AND BROTHERS).
BV E. A. Ai;i!KV. KKO-M AL>11N' DOBSON S
POEMS (KEUAN PAUL).
PEN DRAWING BY C. D. GIBSON. FROM " THE CENTURY
MAGAZINE.'
o
AiHcricau Illustration.
\2
Robin Hood, the Germany of the fifteenth century,
colonial days in America, children's stories, and the
ordinary everyday events which an illustrator is
called upon to record. He is deservedly almost
pen drawing by oliver herford. from "fables"
(gay and bird).
as well known as a writer. His principal books
are "Otto of the Silver Hand," the "Story of
Robin Hood," and " Pepper and Salt."
Mr. C. D. Gibson exhibits the follies and graces
126 Modern Ilhistration.
of society ; it was he who contributed so brilliantly
to the success of " Life," the American " Punch."
Messrs. Frost, Kemble, Redwood, Remington,
show the life of the West and the South ; while,
as a comic draughtsman. Frost stands at the head
of Americans. These men's work wnll one day be
regarded as historical documents. Mr. Remington
has given the rapidly vanishing Indian and cow-
boy, especially in the " Hunting Trips of a Ranch-
man." Mr. Frost's drawings of the farmer in the
Middle States will later be as valuable records
as Menzel's " Uniforms of Frederick the Great."
Mr. Kemble is not alone in his delineation of
darkey life and character. In fact, he has rather
worked in a field which was marked out for him
by W. L. Shepherd and Gilbert Gaul. W. Hamil-
ton Gibson has treated many beautiful and pleasing
aspects of nature, both as writer and illustrator.
Blum, Brennan and Lungren transported the
Fortuny, Rico, Vierge movement to America, but
have now worked out schemes for themselves.
Blum has produced more complete work than the
others, however, and his illustrations to Sir Edwin
Arnold's " Japonica," and his own articles on Japan,
have given him a deservedly prominent position.
Elihu Vedder, most notably in his edition of
Omar Khayyam, Kenyon Cox, and Will Low,
who have illustrated Keats and Rossetti, are
responsible for much of the decoration and decora-
tive design in the country, and there are many
other extremely clever, brilliant and most artistic
men whose work can be found almost every month
in the magazines. Mr. Childe Hassam has brought
i ^'
!
f '^tp,im^'
V^'r'.j
BV F. HOPKIN6UN >MltH. t RuM •liii. l i-.N i l M
MAGAZINE."
PENT DR^^VIXG BV ROBERT BLUM. FROM " SCRIBNER'S
MAGAZINE."
BV CHILDE H ASSAM. FROM A PEN DRAWING MADE FOR
THE " NEW YORK COMMERCIAL ADVERTISER."
America) I Illusfrafiou. 127
Parisian methods to bear upon the iUustration of
New York Hfe ; and Mr. Reginald Birch's studies
of childhood, though frequently German in hand-
ling, are altogether delightful in results, his draw-
ings having no doubt added much to the popularity
of *' Little Lord Fauntleroy ; " in the same sort
of work P. Newell and Oliver Herford are dis-
tinguished. Mrs. Mary Halleck Foote is one
of the few who continue to draw upon the wood,
and very beautifully she does this ; while Mrs.
Alice Barber Stephens, and Miss Katharine Pyle
prove that there is no earthly reason why women
should not be illustrators. Mr. Otto Bacher,
Mr. W. H. Drake and Mr. Charles Graham turn
the most uninteresting photograph, if they are not
doing original work, into a pleasing design ; while
that phenomenally clever Frenchman, A. Castaigne,
who, I believe, now considers himself to be
naturalized, gets more movement and dramatic
feeling into his drawing than almost anyone else,
though he is closely approached in some ways by
T. de Thulstrup.
In some ways Mr. Harry Fenn, Mr. J. D.
Woodward, and Mr. Thomas Moran were among
the pioneers of American landscape illustration.
Mr. Hopkinson Smith, whose work also is fre-
quently seen in the magazines, says that " Harry
Fenn's illustrations in ' Picturesque America '
entitle him to be called the Nestor of his guild,
not only for the delicacy, truth, and refinement of
his drawings, but also because of the enormous
success attending its publication — the first illus-
trated publication on so large a scale ever attempted
128
Modern Illustration.
— paving the way for the illustrated magazine and
paper of to-day." In this venture of Appleton's,
Mr. Woodward and ]\Ir. Moran had a large share.
Among some of the younger men should be noted
A
PEN DRAWING BY FREDERIC REMINGTON. FROM
" THE CENTURY MAGAZINE."
Mr. Irving Wiles, whose work is as direct and
brilliant as, and much more true than, Rossi's ;
Mr. Metcalf, whose illustrations to Mr. Stevenson's
"Wrecker" are most notable; Mr. A. C. Red-
wood who, with Mr. Rufus Zogbaum, has made
PEN DRAWING BV R. BIRCH. FROM "LITTLE LORD
FAUNTLEROV ''' (WARNE).
"ready for the ride.''
WOOD-ENGRAVING BY T. COLE, AFTER W. M. CHASE.
FROM " THE CENTURY MAGAZINE."
BY ROBERT BLUM. FROM "SCRIBNER'S MAGAZINE/
Aniericau Ilhisfrafioii. 129
the American soldier his special study. F. S.
Church is many-sided both in the mediums he
employs and the subjects he selects. J. A.
Mitchell has produced in " Life " a society comic
paper which is much more human than " Punch."
"Puck" and "Judge" are the leading illustrated
political weeklies ; their conductors are D. Kepler
and B. Gillom.
The list of engravers is quite as important.
Almost all of those who belong to the American
Society of Engravers on Wood are original artists
and very well deserving of mention, though their
work itself has given them a position which I
cannot better. The best known is Timothy
Cole, whose engravings from the Old Masters
have won him world-wide recognition. He is
followed by W. B. Closson, who has to some
extent attempted the same sort of work. Messrs.
Frank French, Kingsley, and the late Frederick
J tingling have, with surprising success, engraved
directly from nature ; while for portraits, G.
Kruell and T. Johnson are deservedly well
known. In fine reproductive work Henry Wolf,
H. Davidson, Gamm, Miss C. A. Powell, J. Tinkey,
F. S. King, J. P. Davis have shown that wood-
enofravinor is an art which can be used in the hands
of a clever man or woman in a hundred wa)'s
undreamt of twenty years ago. This list makes
no pretension of being complete, for new maga-
zines, new men and new methods are springing up
all over the country every few weeks, and a mere
list of the illustrators and engravers would make
a catalo<:rue as laro-e as this volume.
o o
I30
Modern Illustration.
There was a period of great activity in American
etching a few years ago. Among the most notable
results were Cassell's Portfolios of the Avork of
American etchers, edited by Mr. S. R. Koehler.
But the art seems now to be lanmiishinof- Mr.
Frank Duveneck, Mr. Otto Bacher, Mr. Stephen
Parrish, Mr. Charles Piatt, Mrs, Mary Nimmo
Moran did some of the best original work, while,
as reproductive men, Peter and- Thomas Moran,
Stephen Ferris, and J. D. Smillie were most
notable. However, this brief spontaneous move-
ment toward individual expression unfortunately
seems rather to have spent itself; and America,
like so many other countries, is waiting for some-
thing new to turn up.
BY S. PARRISH. FROM A DRAWING IN "THE CONTINENT."
ngii;inouTnar:arrDiGDt;.^E^
^ressaair^gmsawemen
BV SELWVX IMAGE. FROM "THE FITZROY PICTURES'
SERIES (BEI.I.)-
:bcn^ell(y>p Icavea or none or few bo banglHpon tfxiac boiiQbgrgTT
[jwbtcb ebake a^ nst ttx colb IBare rmneb cboire vcbCK late tbc gweet biita sani
P.V HEVWOOD SUMNER. I ROM " THE FITZROV PICTURES
SERIES (bell).
CHAPTER VII.
CONCLUSION.
I HAVE tried to show the methods of modern
illustration, and to give a sketch of its present
conditions. It would be absurd to prophesy its
future, though I believe it will have a very brilliant
Much of the work that is beinor turned out
one.
to-day is beneath contempt ; much of it is done by
young men who are absolutely uneducated, and
an illustrator requires education as much as an
author ; much of it is done by people who are too
careless, or too stupid, to read or to understand
the MSS. which they illustrate. Thus, in looking
through late numbers of a magazine. I learn that
all the policemen in New York wear patent
leather shoes ; while from another I find that
when people are very poor in r>ance, they rock
132
Modern Illustration.
their babies in log' cabin cradles, cook their meals
on American stoves and sit upon Chippendale
chairs.
But it is a pleasure to turn from budding
geniuses of this sort and photographic hacks ;
from the gentlemen who copy the imperfections
^^^^MmMM^M^mmi^:^^'^
BV A. J. GASKIN. FROM " OLD FAIRY TALES "'
(methuen and CO.).
of the woodcut of the Middle Ages; from the
people who enlarge the borders of their magazines
with decorations that neither belone to our own
time, nor are good examples of any other; from
those who have succeeded in making a certain
portion of the world believe that clumsy eccen-
tricity is a cloak for all the sins in the artistic
calendar, to illustrators who are calmly and quietly
BV LAURENXE HOUSMAN. FROM " A FARM IX FAIRVl.AXD
(REGAN PAUL).
134
Modern Illustration.
pursuing their profession, and producing work
which may even drag other portions of the maga-
zine or book, to which they contribute, to an
unmerited immortaHty,
I do not pretend to foretell what the ultimate
form of the book of the future, or of the magazine
either, may be. But I do believe that illustration
is as important as any other branch of art, will
live as long as there is any love for art, long after
the claims of the working^ classes have been for-
gotten, and the statues of the statesmen, who are
the newspaper heroes of to-day, have crumbled
into dust, unless preserved because a sculptor of
distinction produced them.
Illustration is an important, vital, living branch
of the tine arts, and it will flourish for ever.
BY COTMAN. FROM AN ETCHING IN " ARCHH ECTURAL
ANTIQUITIES OF NORMANDY."
INDEX.
Abbey, E. A., " Herrick,' 133;
"Old Songs" and "Quiet
Life," 106, 124 ; " She Stoops
to Conquer," 124; "Shake-
speare," 124.
" Abbotsford " Waverley Novels,
26.
Ache, Caran d', 66 ; " Courses
dans I'Antiquite," " Carnet de
Cheques," "Albums," etc., 67 ;
79-
Adams, J. A., 29.
Albrecht, E., 78.
Alexander, Miss, xvii.
AUers, C. W., 78.
Allingham, W., " The Music
Master," 88.
Ally Sloper's Half Holiday, 103.
American illustration, xv, 30-32,
113; ISO-
American Tract Society, 29.
Amicis, E. de, 70.
Andersen's "Fairy Tales," 108.
Andrew, 25.
Angelico, Fra, 3.
Angerer and Goschl, 72.
Anning Bell, R., 105.
Aquatint, 38.
"Arabian Nights" (Lane), 24;
(Dalziel), 91, loi.
Architectural drawing, in.
Argosy, The, 90.
"Armee Francaise, L'," 60.
Armstead, H. H., 90.
Arnold, Sir Edwin, "Japonica,"
and "Japan," 126.
Art, Z', 51.
Art, L\ ct ridee, 56.
Art Student, 35.
Artist-correspondents and their
work, 112.
Artiste, L, 18, 22, 60.
Auriol, Georges, 63, 68.
Avril, Paul, " La Dame aux
Camelias," 62.
Babbage, F., xxiv.
Bacher, Otto, 127, 130.
Bale, Edwin, 115.
Bamboii, Le, 56.
Barnard, Fred., xxiv, 108.
Barnes, R., 108.
Batten, J. D., illustrations to
Fairy Tales, 105-106.
Baude, C, 48, 51, 69.
Baxter, W. G., "Ally Sloper,"
103.
Bayard, Emile, 65.
Beardsley, Aubrey, 105 ; Yellow
Book, " Morte d'Arthur," and
" Salome," 105.
Bennett, G. H., 89.
Bent worth, 25, 74.
Beraldi, M., xiv.
136
Modern Illustration.
Best, 16, 25.
Bewick, Thos., xiv, xvi, 8 ;
Walton's "Angler," 9; Gay's
"Fables," 9 ; "General History
of Quadrupeds," 9 ; " British
Land and Water Birds," 9 ;
as engraver-artist, 9,10; out-
come of his work, 12 ; 17, 47,
88.
Bibliographers' duties with re-
gard to illustrations, xx.
Bibliographica^ xvi, 92.
Birch, Reginald, 127.
Blackburn, H., 81.
Black and IVhzte, 108.
Black and White Exhibition,
Vienna, 72.
Blair's " The Grave," 9.
Blake, W., 9 ; " Songs of Inno-
cence" and "Songs of Expe-
rience," 10; "Book of Job,"
10; Blair's "The Grave," 9;
Mary Wollstonecraft's " Sto-
ries," 10.
Blanco y Aegro, jc).
Blum, R., " Japonica," "Japan,"
126.
Bocklin, A., 76, -jj.
Bork, 48, T^.
BotticeUi, 3 ; designs for Dante, 3.
Boydell's "Shakespeare," 12.
" Bracebridge Hall," 86.
Bradbury and Evans, 89.
Bradley, W. H., 124.
Branston, C, 12, 21.
Braun, 18.
Braun and Schneider, 76.
Brend'amour, Richard, 76.
Brennan, A., 126.
Breviere, 16, 18.
British Museum, xv, xix, xx, 36.
British Workman, 96.
Brown, Ford Madox, 95.
" Brown, Jones, and Robinson,"
84.
Browne, H. K. ("Phiz"), 89.
Bruant's " Dans la Rue,'' 68.
Buchanan's " The North Coast,"
94-
Burckhardt, " Insects Injurious
to Vegetation," 31.
Burges, W., iii.
Burne-Jones, Sir E., xvi ; In
Daily Chronicle, xxiii, 95, 98.
Busch, W., "]■].
Butler's " Hudibras," 19, 20.
Bntte7-Jiy, The, 105.
Calcott, W., 24.
Caldecott, Randolph, illustration
from " Old Christmas," 33, 84,
86 ; Books for Children, 86.
Callot, 80.
Cameron, D. Y., in.
Canaletto, 7.
" Caprices" (Goya), 80.
Capuana, Luigi, 71.
Caracci's " Christ and Peter,"
10.
Caricature, La, 22.
Caricature, Political, 102, 103 ;
Ally S toper's Bat/ Holiday,
103.
" Carnet de Cheques," 67.
" Carols " (Gaskin, A. J.), 108.
Carpaccio, 2.
Carroll's "Alice in Wonderland,"
102.
Casanova y Estorach, A., 71.
Castaigne, A., 127.
" Catalogue of Blue and W^hite
Nankin Porcelain," 95.
Century Magazine, xix, 34, 40,
114, 116.
" Cera una \"olta," 71.
Cervante's "Don Quixote," 21.
Champfleury's "Vignettes PvO-
mantiques," xviii.
Chapman, J. G., drawings for
the " Illuminated Bible," 29.
Charlet, 17, 60.
" Chaumiere Indienne," 20.
Chelminski, 73.
Cheret, 68.
Index.
137
Chiaroscuro, engraving in, 48.
Chiswick Press, 21.
Chodowiecki, 7.
Christopher, St., 6, 34, 36.
Church, F. S., 129.
Cleaver, Reginald, 106.
Clennell, Luke, 11, 12.
Cliches, early use of, 7.
Closson, W. B.,'129.
Cole, Timothy, 47, 48, 108, 129.
Colvin, Prof. S., xv.
Conquet, 63.
'' Contes Remois," 24.
Cooper, A. \V., illustration to
Walton's "Angler," 32.
Cooper, J. D., xxiv.
Corbould, A., 21.
CornhiH, The, 28, 84, 89 ;
" Gallery," 94.
Cotman, F. G., 38, iii.
"Coups de Fusil," 60.
Courboin, E., 66.
Courtier Fraitcais, Lc, 5 1 .
" Courses dans I'Antiquite," 67.
Cox, Kenyon, 126.
Crane, Walter, 28 ; " King
Luckyboy's Party," " The
Baby's Opera," " Baby's
Bouquet," 86, 99.
Crowther, T. S., 104.
Cruikshank, George, " Three
Courses and a Dessert," 22-
24 ; 83, 88.
Curmer, L.,"PauletVirginie,"2o.
Cust, Lionel, xv.
Daheiin, 78.
Daily Chronicle, xvii, xxi, xxiii.
Daily Graphic, 117.
Dalziel Brothers, 28, 35 ; " Bible
Gallery," 35, 95, 88, 90, 91 ;
"Arabian Nights' Entertain-
ments," 1 9 1 - 1 93 ; " Way-
side Posies " and Ingelow's
"Poems," 94; "English Rustic
Pictures," 95, 109.
Dalziel, E., 93.
" Daphnis and Chloe," 105.
Darley, F. O. C, 28.
Dasio, Max, 77.
Daubigny, 17.
Daumier, 17; La Caricature,
22 ; 38, 60.
Davidson, H., 129.
Davis, J. P., 129.
Davison, T. R., 1 1 r.
Defoe's "Plague," lor.
Delacroix, 23, 80.
De Neuville, A., 5 1, 60 ; " Coups
de Fusil," 60; Guizot's "His-
tory of France," 60; "EnCam-
pagne," 60.
" Dentatus, The," 49.
Dentu's Le Bamboii, 56 ; " Tar-
tarin de Tarascon," 61.
Derniame, Aristide, 20.
Detaille, E., 51; " L'Armee
Fran^aise," 60.
Dial, The, 105.
Dickens, C., 83.
Didot, F., " Gravure sur Bois," 5.
Dietz, W., 25, 75.
" Dinner at Greenwich," 84.
Dobson, Austin, xiv, xviii, 81,
84 ; " Beau Brocade," 106.
Doepler, C. E., 29.
Donne, Dr., 40.
Dore, G., 31, 32, 51, 58 ; charac-
terization of his work, 58-60,
63, 93-
Doyle, R., 83 ; " Brown, Jones,
and Robinson," 84 ; 89.
Drake, A. W., 114, 115, 127.
Du Maurier, G., 28, 39, 84, loi,
103.
Durand, 108.
Durand, Amand, photogravure
process of, 44.
Di.irer, A., xxii, 3 ; illustrations
to " Maximilian's Missal," 3 ;
decorative designs, 4 ; his
criticism on his wood-en-
gravers, 5 ; an Apollo draw-
ing, 36.
138
Modern Illiistration.
Duveneck, Frank, 130.
Uys, Habert, 65.
Echo de Paris, L\ 54.
Eckhardt, Oscar, 104.
Edelfelt, A., 73.
Edwards, G. W., 124.
Elgin Marbles, xxii.
Elsevir, 71.
" En Campagne," 60.
"English Rustic Pictures," 95.
" Enterrement de Province," 69.
Estampe Origi>iale, L\ 69.
Etching, III; American, 130;
Cassell's "Portfolios," 130.
Evans, Edmund, xxiv, 87, 109.
Everal et Cie., 21.
" Examples of Venetian Archi-
tecture," 85.
Ex-Libris Sei'ies, Editor, xiii,
xiv.
Fau, F., 61.
Eelz unci Meer, 78.
Fenn, Harry, " Picturesque
Europe and America," 31, 127.
Fernandez, G., 79.
Ferris, Stephen, 130.
Figaro, Le, 54.
Fildes, Luke, xxiv, 86.
Fliegende Blatter, xvii, 25, 75-
78.
Florian, 48, 51, 57, 69.
" Fontaine, La," 8.
Foote, Mrs. Mar>' H., 127.
Forain, J. L., 66 ; Album, 68.
Ford, H. J., 106.
Forget-me-Not, 13, 34.
Forrestier, A., 108.
Fortuny, M., 50, 71, 79, 126.
Foster, Birket, xv, xxiv, 26-29,
84 ; " Pictures of English
Landscape," 91 ; "Odes and
Sonnets," 91, 103.
" Francois le Champi," 62.
Eraser, Lewis, 114, 115.
Fredericks, Alfred, 30.
" Frederick the Great's Works,"
74-
French, Frank, 129.
Frost, A. B., 126.
Furniss, Harry, 102.
Galice, L., 61.
Gamm, 48, 129.
Gardner, W. Biscombe, 48, 109.
Gaskin, A. J., 108.
Gaul, Gilbert, 126.
Gautier, T., 80.
Gavarni, 17, ; Gazette des En-
faiits, lithographs in, 22 ; 38,
57, 60, 79.
Gazette des Enfant s, 22.
Gazette des Beaux-Arts, La, 51.
Gere, C. ^L, The Quest, 108.
Giacomelli, 65.
Gibson, C. D., 125, 126.
Gibson, W. Hamilton, 126.
Gigoux, Jean, 17; Gil Bias, 19.
Gilbert, Sir John, 26 ; Work for
American Tract Society, 29, 84 ;
edition of Shakespeare, 89, 103.
Gil Bias, 54.
Gillom, B., 129.
Gillot, C., engraver, 40.
Gillotage, the process, 51.
Gillray, 84.
Goldsmith's "Vicar of Wake-
field," 21, 61, 93 ; "She Stoops
to Conquer," 124.
Good Words, 28, 84, 88, 90, 91.
Gosse, Edmund, xvi.
Gould, F. C., 102.
Goupil, 55, Les Lettres etlcs Arts,
56.
Gourget, A. F., 61.
Goya, F., xiv, 8, 20, 79, 80 ;
" Caprices, 80 ; " Invasion,"
80 ; Bull-fights, 80.
Graham, Charles, 90, 127.
Graphic, 18, 34, 40, 65, 85, 92, 94,
96, 108.
Graphischen Kunste Die, 78.
Grasset, E., 63, 68.
Index,
139
Gray's, " Eleg)-,'" 24.
Green, Charles, xxiv, 86, loi.
Green, \V. T., xxiv.
Greenaway, Kate, 86 ; Children's
Books, 87.
Gregory, E. J., 86.
GreilTenhagen, Maurice, 104.
Greiner, Otto, '"j.
Greuze, 7.
Griset, Ernest, " Grotesques,"
xxiv, 87.
" Gulliver's Travels," 93.
Guillaume, process and pub-
lisher, 56, 66.
"Guillaume" Series, 51, 62.
Guizot's "History of France," 60.
Hacklander, F., 78.
Haennen, T. von. 65.
"Half-tone" process, 40.
Halkett, G. R., 102.
Hall, S. P., 86. 101, 112.
Hallward, Reginald, 108.
Hamerton, P. G., 81.
Harburger, "]"].
Harding, J. D., 38, no, in.
Hardy, Thos., "Tess of the
DUrbenilles,' loi.
Harper, C. G., 81.
Harpers " Illuminated Bible," 29.
Harper's Magazi7ie, xix, 29, 116.
Harral, H., .xxiii.
Harris's " Insects Injurious to
\'egetation.'" 30, 31.
Hartrick, A. S., 104.
Harvey, William, xxiv, 12 ;
Milton's " Poetical Works,"
15, 16, 17, 18; "Gardens, etc.,
of Zoological Society," 21, 24
"Elegy'' (Gray), 24; "Arabian
Nights," 24 ; "Solace of Song,"
24 : " Dentatus," 49, 88, 89.
Hassam, F. Childe, 126, 127.
Hatherell, W. H., 105.
Haug, Robert, 75.
Haydons " Dentatus," 49.
Hendriksen, 48, "]-},.
Hengler, -j-j.
Henley, W. E., xvi.
Hennessy, W. J., xvi.
" Herbals," The, yj.
Herford, Oliver, 127.
Herkomer, Prof. H., 86;
Hardy's "Tess, ' loi.
" Histoire de Mobilier," 51.
"HistoireduRoide Boheme," 18.
" Historical and Legendary'
Ballads,' 94, 95, 102.
Hobby Horse, The, loS.
Hogarth, W., 7.
Holbein, Hans, 4, 7 ; " Dance of
Death," 34, 36.
Hole, W., 72, III.
Holl, F., 86.
Homer, Winslow, 29.
Hooper, W. H., xvi, 28, 48, 109.
Home, Herbert, 108.
Horsley, G. C, in.
Houghton, A. Boyd, xvi, 27, 84,
86, 88, 90, ; "Arabian Nights,"
92 ; Housman on his work, 92 ;
" Home Thoughts and Home
Scenes," 92 ; " Don Quixote.''
92 ; " Kuloflrs Fables," 92 ;
Graphic drawings, 92 ; " Na-
tional Nursery Rhymes,"' 93 ;
" The North Coast," 94 ; 95,
lOI.
Housman, Laurence, xvi, 92 ;
" Goblin Market," 106.
Huertas, 79.
Huet, Paul, 17, 20.
Hughes, Arthur, illustrations to
Christina Rossetti's " Sing
Song," xxiv, 88, 96; - "Tom
Brown's School-days," 96.
Hugo's, \'., works, "Edition
Nationale," 64.
Hunt, Holman, " Lady of Sha-
lott," 88, 90.
" Hypneroiomachia," 4.
Ibels, 66.
Icke, H. J., 12.
140
Modern Illustration.
Illumination, 3.
Illustracion Artisiica, 71.
Illustracioti Espahola y Ameri-
cana^ 71.
Illustrated London News^ 27,
108.
Illustration^ L\ 51, 65.
Illustration, definition of, i ;
compared to art, i, 2 ; the
old illustrator, 2 ; the court
painters, 2 ; the subject and
landscape painters, 2 ; illu-
mination of MSS., 3 ; French
illustration, 24 ; modern de-
velopment in, 33 ; application
of photography to, 34 ; in-
crease in its popularity, 34 ;
production of before the intro-
duction of photography, 36 ;
French, 50-57 ; decline of
French work, 52 ; decay due
to publishers, 54 ; Spanish,
71 ; Dutch, 71, 72 ; Belgian,
Austrian, and Hungarian, 72 ;
Russian and Scandinavian,
Tj, ; Danish, 73, 74 ; German,
74, 75 ; English, 82, 84; re-
vival in England, 96 ; editors'
bad judgments on, 97 ; their
bad influence, 97 ; their ignor-
ance, 90, 99 ; evils of modem
reproductions, 99 ; ignorance
of printers, 100 ; modern
copies of obsolete fads, 100 ;
colour printing, 109 ; Ameri-
can, 113, 130; reasons for
American advance in, 116;
daily papers, 117; future of
modern, 1 31-134.
Illustrazion /taliana, U, 71.
lllustrirte Zeiticn^, 75.
Image, Selwyn, 108
Indexing of artists' works, xix,
XX.
Ingelow, Jean, "Poems," 94.
" International Society of Wood
Engravers," 109.
Isabey, E., 17, 20.
Ispen, L. S., 124.
Ives' method of engraving, 40.
Jackson, Mason, "The Pictorial
Press," xviii ; 32, 115.
Jacobi, C. T., xvi.
Jacque, C, 17, 20; "Vicar of
Wakefield," 21.
Jacquemart, Jules, 51.
Jeanniot, P. G., 60.
Job, 66.
Johannot, Tony, 25.
Johannots, the Brothers, 17, 18.
Johnson, T., 129.
Johnstone, J. M., xxiv.
Judge, 129.
Jiingling, Frederick, 48, 129.
Kaulbach, 76.
Keene, C, 28, 38, 39, 84, 89, 90,
104.
Keepsake, 13, 34.
Kepler, F., 129.
King, F. S., 129.
Kingsley's "Water Babies," 102.
Kingsley, Elbridge, 47, 48, 129.
Klinger, Max, 76 ; his method,
yj ; his "Apuleius," jy.
Knight, Charles, 24.
Koehler, S. R., 130.
Konewka, Paul, 76 ; " Faust,"
76.
KreuU, G., 48, 129.
Kreitzschmar, 25.
Kunstfiir A He, 78.
Lacour, O., xxiv.
La Farge, John, 29.
Lalauze, A., 64.
Lameyer, 79.
Lami, E., 23.
Landseer, Sir E., 24.
Lang, A., "The Library," xviii,
81 ; "Fairy Books," 106.
Langton, first use of photogra-
phy for book illustration, 34.
Index.
141
Lanterne, La, 54.
Lathrop's "Spanish Vistas," 124.
Laurens, Jean Paul, 61.
Lautrec, H. T., 68.
La Vie Modernc, 51.
Lavoignat, 15, 17, 21, 24.
Lawless, IVL J., 8g.
Leech, John, 83, 84, 88, 89.
"Legend of the Portent," 89.
Legrand, L., 66.
Lehers, Max, "]"].
Leighton, Brothers, 109.
Leighton, Sir F., 28, 89 ; Corn-
hill " Gallery," 94, 95.
Leloir, M., 25, 61.
Lemaire, Mme., 62.
Lepere, A., 18, 47, 51, 69.
Le Sage's " Diable Boiteux," 21.
Les Let ires et les Arts, 56.
Leveille, 16, 24, 51.
Lhermitte, L., " La Vie Rus-
tique," 61.
" Liber Studiorum," 27.
Lidia, La, 79.
Life, 126, 129.
Linnells, The, 10, 11 ; "The
National Gallerj'," 14.
Linton's " Engraving," xviii ; on
engraver and artist, 24, 28, 48,
86, 109.
Lithography, 38 ; work by Prout,
Harding, Roberts, Nash, 38 ;
revival in, 109 ; Vanity Fair
and chromo-lithography, 109;
photo-lithographv, 109.
Low, Will. H., 126.'
Lucena, Jiminez, 79.
Luders, Hermann, 75.
Lunel, F., 61.
Lungren, F., 126.
Lynch, Albert, " La Dame aux
Camelias," 62.
Macbeth, R. W., 72, iii.
" Madame Chrysantheme," 62.
Magazin Pittoresqiie, 21.
Mahoney, T., " Scrambles
amongst the Alps," 94, 101.
Mallows, C. E., 1 1 1.
Marchetti, 64.
Marie, Adrian, 65.
Marold, L., 57, 72, 78.
Mars, 66, 68.
May, Phil, 104 ; " The Parson
and the Painter," 104.
Meadows, Kenny, 88.
Meggendorfer, 77.
Meisenbach process, 40.
Meissonier, J. L. E., 8, 17, 20;
" Deux Joueurs," 21 ; " Contes
Remois," 24 ; 25, 50, 57, 60, 73,
74, 79-
Menzel, Adolph, xx, 8, 24 ; com-
parison with Bewick, 25 ;
" Life of Frederick the Great,"
25; "Paul et Virginie," 25,
T}„ 74 ; his genius and work,
74, 75> 76, 88, 126.
-Merson, Luc Ollivier, 64.
Metal, engraving on, 37.
Metcalfe, \V. L., Stevenson's
"The Wreckers," 128.
Metivet, L., 65.
Millais, Sir J. E., 28 ; " St.
Agnes' Eve," 88, 89; "Par-
ables," 90-92 ; Cornhill " Gal-
lery," 94 ; Strahan's " Port-
folio," 94.
Millar, H. R., 104.
Mitchell, G. C., in.
Mitchell, J. A., Life, 129.
"Modern Painters," 85.
Monde Illustre, Le, 51.
Monnier, H., 17, 23.
Montalti, " Cera una \^olta,"
71-
Montbard, A., 108.
Monvel, Boutet de, 66.
Moran, Mrs. Mar)- Nimmo, 130.
Moran, Thomas and Peter, 30,
127, 128, 130.
Morin, Louis, 63.
Morris, William, xvi, 108.
142
Modem Illustration.
Morton, T., " Gullivers Travels,"
93-
Moxon's " Tennyson," 28, 88 ;
jVIacmillan's re-issue, loi.
Muckley, L. F., The Quest, 108.
IMulready, W., 24.
Murray, C. O., III.
Myrbach, 54, 62, 72.
Nash, 38.
Nast, Thomas, 30.
Nesbit, 12.
Nette Lithographem, 77.
New, E. H., 108.
Newell, P., 127.
Newspapers, illustrated, 116,
117.
New York Daily Graphic, 1 1 7.
Niepce, 40.
North, J. W., 35, 93; "Way-
side Posies" and Ingelow's
" Poems," 94.
Novello's " National Nursery
Rhymes," 93.
Oberlander, 77.
" Odes and Sonnets," 91.
" Old Christmas," 86.
" Old Songs," 106.
"Omar Khayyam," 126.
Once a Week, xix, 28, 84, 88-
Orrinsmith, H., xvi, 12, 57.
Overbeck, 76.
Overend, W. H., 108.
Overlays used by Bewick, xvi,
20, 21.
" Pablo de Segovie," 51, 54, 61.
Paget, Wal, 105.
" Palace of Art, The," 88.
Pall -ATall Gazette, 117.
Pall Mall Magazine, xix.
Palmer, Samuel, xxiv.
Pannemaker, 32, 69.
Papier Gillot, 71.
Paris Illustri', 5 1 .
Parrish, Stephen, 130.
Parsons, Alfred, 106 ; " Old
Songs," " A Quiet Life,"
" Wordsworth's Sonnets," and
" The Warwickshire Avon,"
106, 124.
Parsons, Charles, 114.
Partridge, J. Bernard, 106.
Paterson, R., xxiv.
Paul, Rowland, iii.
Pegram, F., 104.
" Pen Drawing and Pen
Draughtsmen," 35.
Peiuiv Magazine, 24.
Perea, D., 79.
Perugini, Carlo, 109.
Perugino's " The Holy Family,"
10.
Petit Journal, Le, 54.
Pettie, J., 90.
"Phiz" (H. K. Browne), 83.
Photography applied to book
illustration, 34 ; Art Student,
1865, 35 ; fairly general in
1870, 36 ; photographing of
drawings in line upon a metal
plate or gelatine film, 40 ;
" half - tone " process, 40 ;
Meisenbach process, 40; Ives'
method, 40.
Piaud, 17.
Pickering's "Alphabet," 19.
" Pictures of English Land-
scape," 91.
"Pictures in Words," 91.
" Picturesque America," 31, 127.
"Picturesque Europe," 31.
Pille, Henri, 61.
Pinturicchio, 3.
Pinwell, G. J., 27, 35, 39, 86, 88,
90, 92 ; "Goldsmith's Works,"
93 ; " Wayside Posies " and
Ingelow's " Poems," 94 ;
" English Rustic Pictures,"
.95-
Piranesi, 7.
Pisan, 17.
Index.
143
Pissarro, L., 105.
Pite, A. B., III.
Plantin Museum, 36.
Piatt, Charles A., 130.
" Poets of the Nineteenth Cen-
tury," xxiv.
Poirret, 17.
Poirson, V. A., 61.
Pollard, A. W., xv.
Pons, Angel, 79.
Powell, Miss C. A., 129.
Poynter, E. J., 95.
Prado, The, 80.
Pranishnikoff, i^,.
Pre f uteres J II us trees, Les, 61.
Pre-Raphaelites, xxii, 76, 88, 98.
Prior, Melton, 112.
" Process," art of, 41 ; Meisen-
bach, 40 ; comparison with
wood - engraving, 41 - 43 ;
method of, 42 ; application of
photography, 42; for "line"'
work, 42 ; use of swelled ge-
latine, 42 ; photogravure of
Amand Durand, 44; black-
and-white drawings repro-
duced in, 44 ; wash repro-
ductions by, 44 ; advantages
of, over engraving, 45 ; flat
washes, 45 ; objections to, 45 ;
object of, 46 ; not a "mechani-
cal makeshift," 46 ; answers
to criticisms on, 46 ; bound to
supersede wood - engraving,
48 ; Gillotage, 51 ; Guillaume
half-tone process, 62 ; bad
process work, 96.
Proctor, J., 102.
Prout, S., 38, no, in.
Puck, 129.
Punch, 27, 106, 129.
Pyle, Howard, 124, 125.
Pyle, Miss Katharine, 127.
•' Quatre fils d'Aymon," 63.
Quest, Tlie, 108.
" Quiet Life," 106.
Quotidien Illustri, wj.
Raflfaelli, J. F., 65.
Raffet, 1 7, 60.
Railton, Herbert, 105.
Rainey, \V., 108.
Ramos, F. Garcia y, " La Tierra
di Maria Santissima," 79.
Ratdolt, E., 5.
Raven-Hill, L., 104, 115.
Read, S., 88, 112.
Redwood, A. C, 126, 128.
Reed, E. T., 106.
R^gamey, Felix, 65.
Reid, Sir George, 106; "Johnny
Gibb," "The River Tweed
and the River Clyde," 107.
Reinecke, Rene, 78.
Reinhart, G. S., " Spanish
\'istas," 124.
Rembrandt, 2, 3 ; Etchings of,
4, 88.
Remington, F., " Hunting Trips
of a Ranchman," 126.
Renouard, Paul, 65.
Repine, 73.
Retzche's " Shakespeare," 76.
Revue JUustre, La, 51.
Ricketts, Charles, 105 ; "Daphnis
and Chloe,'" 105.
Rico, 50, 71, 79, 126.
Riou, 65.
Roberts, C, xxiii.
Roberts, D., 38.
Robida, " Rabelais," 63.
Rochegrosse, G., 61.
Roehle, 18.
Rogers' " Italy," 38 ; "Poems,"
II, 12, 18.
Rops, Felicien, 63.
Rossetti, C, "Goblin Market,"
106.
Rossetti, D. G., xvii, 27, 35, S5 ;
"The Palace of Art," "Sir
Galahad," 88,98; his influence
and motives, 98.
Rossi, 54, 62, 128.
144
Modern Illustration.
Rowlandson, 84.
Rubens, sketches for title-pages,
4, II.
Ruskin, J., 28, 85. 93.
Russell, W. W., 104.
Ryland, Henry, 108.
Sala, G. A., 89.
Sambourne, Linley, loi ; "Water
Babies," 102 ; Punch work,
102.
Sandys, Frederick, xv, 27 ;
"Amor Mundi," 35; 39, 84, 88-
90 ; Corn/nil " Gallery," 94 ;
" Legendary Ballads," 95, loi,
108.
Savage, Reginald, 105.
Schlittgen, H., 78.
Schwasbe, C., 63, 77.
" Scrambles amongst the Alps,"
94, loi.
Scribnet^s Magazine^ 1 1 6.
Seon, 64.
Seymour, G. L., 105.
Shannon, C. H., 105 ; " Daphnis
and Chloe,'" 105.
Shepherd, W. L., 30, 126.
Shields, Frederick, xvi, 39, 84 ;
Defoe's "Plague," loi.
Shilling Mat^azine^ 28, 35, 84,
88, 90.
Short, Frank, 72, in.
Simpson, William, 112.
Singer, Dr. Hans, xv.
Small, W., 27, loi, 103.
Smedley, W. T., "Sketches of
American Watering-places,"
124.
Smeeton, 18.
Smillie, J. D., 130.
Smith, F. Hopkinson, 127.
" Societes Anonymes," 54.
" Solace of Song," 24.
Solomon, S., 95.
Sourel, " Insects Injurious to
Vegetation," 31.
South Kensington Museum, xv,
xix, XX, 36.
" Spanish Scenes," 79.
Spectator, xviii.
Speed, Lancelot, 106.
Spielmeyer, W., xxiv.
" Spy," 109.
St. Stephen's Review, 104.
Stacey, W. S., 108.
Stainforth, M., xxiv.
Staniland, C. J., 108.
Stationers' Hall, Exhibition of
Wood- Engravings, March,
1895, xxiii.
Steinhausen, W^, TJ.
Steinlen, 57, 66; Bruant's "Dans
la Rue," 68.
Stephens, Mrs. Alice B., 127.
Sterne's "Sentimental Journey,"
61.
Stevenson's " The Wreckers,"
128.
" Stones of Venice," 85.
Stothard, T., 9, 10; "The Pil-
grim's Progress," II ; Richard-
son's " Novels," 1 1 ; Rogers'
" Poems," 1 1- 13, 18 ; "Alpha-
bet," 19, 24.
Strahan, A., xvi.
Strang, William, iii.
Strange, E. F., xv.
Stroebel, 78.
Stiick, Franz, i"].
Sullivan, E. J., 104.
Sullivan, J. F., 102.
Sumner, Hey wood, 108.
Sunday Magazine, 90.
Supplement Litter aire et Artis-
tique, 54.
Swain, T., 28, 35, 90, 109.
" Tartarin de Tarascon," 52, 61.
Taylor, Tom, 83 ; " Pictures in
Words," 91.
Tegner, Hans, Ti ; drawings for
Holberg's " Comedies," "j^,-
Index.
145
Tcnniel, Sir J., 28, 89, 92 ; "Alice
in Wonderland," " Legendary
Ballads," 102.
Thackeray, W. M., 12, 83, 89;
"■ Roundabout Papers," 90.
Thoma, H., "]"].
Thomas, G. H., xxiv.
Thomas, W. L., 1 15.
Thompson, Charles, 14, 15, 16.
Thompson, John, Hogarth's
Works, 13.
Thompsons, the, 12 ; Cruik-
shank's Work, 24.
Thomson, D. C, 115.
Thomson, Hugh, 105.
Thulstrup, T. de, 127.
Thurston's Butler's " Hudi-
bras," 19, 20; "Tasso," 21,
Tilt's, "Gardens and Menageries
of the Zoological Society De-
lineated," 21.
Tinkey, J., 129.
"Tierra di Maria Santissima,"
La," 79.
Titian's "Ariadne and Bac-
chus," 14.
Tofani, 64.
" Tom Brown's School-days," 96.
Toudouze, Edouard, 62.
Townsend, Horace, xvi.
Treves, Fratelli, 70.
Tristram's " Coaching Days and
Coaching Ways," 105.
Ucber Land iind Meer, 75.
Unger, J. F. G., 75.
Unzelmann, 25, 74.
Uzanne, Octave, 56, 62.
X'alloton, P., 69 ; " Enterrement
en Province," 69.
Vanity Fair, 109.
Vebers, the, 64.
Vedder, Elihu, ' Omar Khay-
yam," 126.
\'elasquez, portraits of, 2, 80.
Veronese, 2, 3.
Vierge, Daniel, 19, 51, 54, 61, 71,
79, 80, 126.
"Vie Rustique, La," 61.
Villiers, F., 1 12.
Vinne, Theodore de, 120.
\'izetelly, H., 27.
Vogels, the, 25, 72, 74, 78.
Walker, Emery, xvi.
Walker, Fred., 27, 39, 88 ; " Ad-
ventures of Philip," 90, 93 ;
Corn/till " Gallery," 94 ;
" English Rustic Pictures,"
95-
War Correspondents and their
work, 112.
"Warwickshire Avon," 106.
Watson, C. J., iii.
Watson, J. D., 92.
Watteau, 7.
Way, Messrs., 109.
" Wayside Posies," 94.
Weir, Harrison, xv, xxiv, 26, 30,
31, 103.
^^ hall, Christopher, 108.
Whistler, J. M. N., xxii ; in
Daily Chronicle, xxiii, 84, 93 ;
'' Legendar)' Ballads," 95 ;
'' Catalogue of Blue and
White Nankin Porcelain,"
95, loi.
White, Gleeson, xiv.
Whittingham, C, 21.
Whymper, 90 ; '" Scrambles
amongst the Alps," 94, loi.
Wiles, Irving R., 128.
Wilkie, Sir l3avid, 24.
Willette, A., 66, 68.
Williamses, the, 12, 15, 24.
Wilmot's, "Sacred Poetr),'' xxiv.
Wilson, Edgar, 104.
Wilson, Richard, 11.
Wilson, T. Walter, 108.
Wood-engraving, xvi, early
English, 12-14, French prize
for, 14 ; rise of in France, 16 ;
146
Modem Ilhtstration.
Bewick's influence, 12, 17 ;
disappearance of, y] ; me-
thods of wood- engraving-
shops, 38 ; bad influence on
the artists, 39 ; disappearance
of the " wood-choppers" again,
39 ; replaced by photo-
graphy, 40 ; progression of
the art of, 41 ; advantages
claimed for, 41 ; comparison
to "process" work, 41-43;
real duties of the engraver,
47 ; three great periods, 47 ;
Japanese wood-cutting, 48 ;
no danger in the hands of
good artists, 48 ; modern fac-
simile wood-engraving, 48 ;
bound to be superseded by
" process " work, 48 ; bright
outlook for, 49 ; revival in
France, Germany, etc., 57, 58,
75 ; method of publication of
the Dalziel books, 91 ; " Inter-
national Society of Wood-
Engravers," 109 ; American
School of, 114-116; facsimile
work in America, 165.
Wolf, Henry, 129.
Woods, H., 86.
Woodville, R. Caton, 108.
Woodward, J, D., " Picturesque
Europe and America," 31, 127,
128.
Wollen, W. B., 108.
Wordsworth's " Sonnets," 106.
Wolf, J., 89.
Worf, A., xxiv.
Wright, 21.
Wyllie, W. L., ic8.
Yellow Book, xxii, 105.
Zogbaum, Rufus, 128.
Zola's " Le Reve," 63.
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